IN SEARCH OF WONDER

acrylic on canvas

66 x 38 in. (167.6 x 96.5 cm)

Price Realized:

48875.00 CAD.

INCLUDES BUYER’S PREMIUM

Notes:

signed, titled & dated

Daphne Odjig recently became 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 remarkable 44 year career.

Odjig’s work is often associated with the Woodland School and reflects the influence of both European Modernism and Anashinabe artistic heritage, yet her distinct style defies categorization. The artist herself resists the labeling of her art, whether Woodland, “Indian”, feminist or political. She asserts “my art is my primary statement”.

This major work, from a mature and accomplished period of Odjig’s career, is reminiscent of the hallmark works in the recent exhibition, bearing both thematic and stylistic similarities. The collective of figures, the strength and lyricism of the trees, and the tranquil sky are the key elements demonstrating the balance and synergy of culture, nature and spirituality (recurring themes in Odjig’s work).

This work brings to mind Odjig’s words, referring not only to her roots, but to her personal journey as a woman and artist (p. 68 “Odjig: The Art of Daphne Odjig, 1960-2000”):

“Those ancient ones who walked here before us have always had a powerful influence on my work, both in my illustrations of our legends and in my introspective works, as I learned to listen to my Spirit Guide.”

References from “The Drawings and Paintings of Daphne Odjig, A Retrospective Exhibition”: Meares Island (1985, fig. 15); Some Watched the Sunset (1985, Cat. 37). See also “Odjig: The Art of Daphne Odjig, 1960-2000”: Cultural Identity (1984, p. 68).