signed lower right; titled on the stretcher and dated on the canvas verso
Daphne Odjig’s work is often associated with the Woodland School and reflects the artistic influence of both European Modernism and the artist’s Anashinabe heritage, yet her distinct style defies categorization. Odjig resists the labeling of her art, whether as Woodland, “Indian”, feminist or political: “My art is my primary statement”. Her images are the product of deeply personal and spiritual forces:
“For me it has been an endless source of delight and wonderment that awareness, thought and recognition can come seemingly unbidden from an inner source….Every artist, either wittingly or unwittingly, must draw on this eternal source which is both practical and mystical.”
This compelling work, from a mature and accomplished period of Odjig’s career, bears the thematic and stylistic imagery that has become the hallmark of her work. Two groups of sheltered figures are cradled by the protective limbs and canopy of the trees; the night sky above is tranquil and mystical. In this lyrical work, the individual elements come together to demonstrate the balance and synergy that exist between nature, culture and spirituality.
Daphne Odjig was the first female First Nations artist to be featured in a solo exhibition at the National Gallery of Canada. Organized by the Art Gallery of Sudbury, “The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition” (October 2009 to January 2010) showcased works spanning a long and accomplished career.
