On
the walls of the Thunder Bay Art Gallery, Patricia M. Ningewance’s fiber art of
her show, Coming Home, look smaller than they should. A gallery is a great way
to present a collection of work, with better lighting and informative
descriptions, and relating individual works to a series
to better expound a theme. However, in your own home these works would look fantastic.
This isn’t a pitch for you to purchase Patricia's work, but to better appreciate the pieces. These are warm works with a life of their own that
will give any room a spirit.
Patricia M. Ningewance is Ojibwe from Lac Seul First Nation in
Northwestern Ontario. Patricia’s Ojibwe name is Waabi-bizhikilkwe and she is a
combination of both the Bear and Moose clan of her parents, learning Ojibwe
mostly from her grandmother who used the teaching methods of word games and
riddles, which are akin to self-learning techniques as opposed to tests. Patricia
has worked hard to sustain her heritage and especially the Ojibwe language
having written two books with the aim of doing so, a thick textbook and a
pocket book for anyone interested in learning Ojibwa. Patricia has
spent over thirty years maintaining a passion for teaching and preserving her
language.
In her work Patricia uses a variety of fabric techniques and is
influenced by different cultures. In the piece, Dene Woman, Patricia employs
applique, beading, buttons, and embroidery using the mola style. The mola style
refers to small panels produced by the Kuna people who live in the San Blas
Islands of Panama, and Columbia. The mola designs are a mix of popular
culture and traditional Kuna culture, but are still distinct geometric patterns
applied with the applique technique. The more applique layers, the more
valuable the piece.
The use of applique
in many of Patricia’s works is finely done and unusual. In her large piece,
Mishibizhiw, the applique is very fine. While the design of the sea creature,
described as an “entity,” is quite fantastic. The detailing of the applique
really adds to the mystery of the piece. The swirling backdrop and the red web
in the foreground are used to great effect to set off the sea creature.
Ric rac braid is also employed. This is where a narrow braid is woven
into a zigzag strip. This is used to divide static areas and add dynamism.
These kinds of techniques used in Patricia’s works can seriously slow its
completion. The larger the piece the more time required, which is not
necessarily the case with painting. The large work, Snake and Thunderbird, was
completed over a ten-year period, much like a novel, with all of the
intricacies, such as reverse applique.
For this technique one piece of cloth is placed on top of another and
the design is cut into the top piece to expose the bottom piece. The edges of
the top piece are then turned under and stitched in place, as in a regular
applique. This can be done with multiple layers of fabric. The technique is
used in both the thunderbird and in the snake. The design itself is quite
dramatic, throwing lots of energy around with massive flapping wings and the lighting
bursting out of the thunderbird’s mouth.
It’s a wonderful contrast of dynamic energy that would seem more
appropriate for a perspective painting or animated cartoon. The limited use of
perspective in the scene contrasts with the 2D surface material used to make
the piece. The reverse applique helps with the 3D effect, giving a little
punch-out to make the image jump into your eyes.
If only Norval Morriseau could have used such wonderful techniques there wouldn’t be thousands of fraudulent paintings in existence to devalue the
ones he may have done himself. Morrisseau’s work is just too easy to forge.
Patricia’s fiber works require far too much skill for a lazy forger.
All the more reason to check out the show. It’s nice to see real work at
play.
Patricia M.
Ningewance’s work is on display at the Thunder Bay Art Gallery till January 5th.
The opening reception and artist talk occurs on Friday, November 22 at
7:30.
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