Artist Statement
The first half of the body of work (“Intrusion”) has its genesis in 1991 while exploring central B.C. I was originally motivated to photograph the landscape as an exploration of formal concerns. I began by documenting natural landforms, evidence of human intrusions and alterations imposed on the landscape. Work shot on and around the Chilcotin Plateau proved to be the most informing. The area appears to be a vast and empty land with a few pockets of development and habitation hugging a lonely highway. This lack of development highlights what development there is, and transforms it to the level of symbol. These symbols became the threshold into the body of work and the resulting images became the impetus for continued investigation. Though these symbols appear almost futile in that part of B.C., they speak of an imposition of foreign values. As in the rest of the hemisphere, the land was taken; the natives were alienated and are marginalized. The first six images and text consider this process.
The second set of six images “Occupation” considers questions of our use, ownership and occupation of the land. What will be the state of the “Landscape” if we continue down the road our culture has chosen regarding land use and resource exploitation? Whose “Landscape” is it in the light of the fact that ownership of over 80% of B.C. was never relinquished by the first nations and, though it was arrogated by the Crown, (contrary to British laws of the day) proper compensation was never tendered, treaties never negotiated?
Seen as a whole, “Intrusion/Occupation” is a series of meditations on a collision of cultures. By considering the deep differences between the two cultures’ perceptions of their relationship to the land and their place in the natural world, the work functions as a critique of the illusion of the superiority of our religious and cultural values.
Ken Jeannotte 1996
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“Intrusion/Occupation”
The first half of the body of work (“Intrusion”) has its genesis in 1991 while exploring central B.C. I was originally motivated to photograph the landscape as an exploration of formal concerns. I began by documenting natural land forms, evidence of human intrusions and alterations imposed on the landscape. Work shot on and around the Chilcotin Plateau proved to be the most informing. The area appears to be a vast and empty land with a few pockets of development and habitation hugging a lonely highway. This lack of development highlights what development there is, and transforms it to the level of symbol. These symbols became the threshold into the body of work and the resulting images became the impetus for continued investigation. Though these symbols appear almost futile in that part of B.C., they speak of an imposition of foreign values. As in the rest of the hemisphere, the land was taken, the natives were alienated and are marginalized. The first six images and text consider this process.
I first approached the Chilcotin plateau on a rutted dusty trail from the east over 20 years ago. I later discovered that this trail (known as the “grease trail ” for the oolichan oil traded to the interior by the natives) began in the west, on the coast. In 1793, with the help of local natives, Alexander McKenzie was guided down it to become the first white man to reach the Pacific by land. The next incursion of the white man, in 1864, was an attempt to push a road to the Cariboo gold fields from the head of Bute Inlet. It was met by armed resistance and fourteen road builders were killed. Though the natives perceived this as an invasion on the part of the Europeans and an act of war, when lured to negotiations, six of the natives were arrested and hanged.
The second set of six images “Occupation” considers questions of our use, ownership and occupation of the land. What will be the state of the “Landscape” if we continue down the road our culture has chosen regarding land use and resource exploitation? Whose “Landscape” is it in the light of the fact that ownership of over 80% of B.C. was never relinquished by the first nations and, though it was arrogated by the Crown,(contrary to British laws of the day) proper compensation was never tendered, treaties never negotiated?
In 1945, Indian Reserve # 172 (located in the area of the province covered by treaty) was “sold” to Department of Veterans Affairs for the settlement of returning veterans. The Department administering Indian Affairs received $70,000 in compensation for the 18,168 acre Indian reserve. Due to a “slip of the pen” the mineral rights were transferred with the land. The natives (mostly illiterate hunters and trappers) were assigned to three reserves further north totaling 3,328 acres of land perhaps more suited to these endeavors but nowhere as valuable in real terms.In 1948, my father (one of many returning vets) having purchased 320 acres of this (Vetrans Land Act) land, moved my mother, my brother and me there. Thanks to thirty years of unrelenting labour, a wife and family of 8 children, and the fact it was prime farmland, a successful mixed farming operation of 960 acres was carved out of the bush. Due to the ownership of the mineral rights many of the veterans who purchased this land benefited from the discovery of petroleum resources on this land. In 1993, the Appeal Court of Canada ruled that the native’s right to sue for proper compensation had expired in 1978. Sixteen years of litigation (fought to the bitter end by the federal government) ended on Dec.15 1995. The Supreme Court of Canada ruled that the Department of Indian Affairs had in fact breached their fiduciary duty to the natives and they must be compensated for the loss of mineral resourcesIn 1998 agreement for compensation was reached between the Federal Govt. and the Blueberry and Doig bands with the two bands to receive over one hundred million dollars.
Seen as a whole, “Intrusion/Occupation” is a series of meditations on a collision of cultures. By considering the deep differences between the two cultures’ perceptions of their relationship to the land and their place in the natural world, the work functions as a critique of the illusion of the superiority of our racial, religious and cultural values.
Consideration is also given to the fact that we citizens of Canada (whether First nations, Immigrant or descendant of Immigrant) are now forced to share this land. Ken Jeannotte 1996
INTO THE DEAD OF WINTER
(we gave them blankets)
Across the lake
and under the blanket of mist, crouches
the island.
With two depressions like pockmarks
on the brow
of the hill
where they crouched once
in the open
waiting for the sinking darkness.
And behind the island
in the shelter of the shallows
where he broke through
the rotting ice
sinking into the darkness
THE THRESHOLD
(on the road through bull canyon)
On their eastern boundary
Rory Calhoun (or Randolf Scott)
holed up in a box canyon
with the school marm and slicker.
The tortured cries
of the stage coach driver
ringing through the night
on Indian drums
with a good idea
who would end up
under the wheel.
TOOLS OF THE TRADE
(like pages from the book)
Add, subtract
multiply (your investment)
divide (the spoils)
a not so new
old equation.
Written on the pages of the book
of rights and wronged.
NO MANS (AN) (IS)LAND
(filling an empty land)
As the lord said
go forth and multiply
you shall have dominion
over all things
the land and the water
and all things in on and above
etc. etc.
until it's all gone.
RIVER RUN BACKWARDS
(requiem for the Nechacko)
And you shall have dominion over
the oceans
the rivers
and streams
and all things swimming
in them
until they are all
gone.
LA TERRE S'APPAUVRIT
(the earth becomes poorer)
The transition,
the first step
on the path
becomes a headlong run,
a rush
to a desert of
ideas.
WA'GELLA ON VACATION
(little tide pools)
Born of the marriage
of the ocean and the rocks,
crystal clear and brimming
with anemone and starfish
and reflecting the sky,
she was named
Little Tide Pools.
UNDER THE BIG TOP
(under the hole in the big sky)
We used to rejoice in the
nearly naked
in our naked brown
skins,
in the heavens
of the water, the earth
the sun and the sky
and now the sun
maligns.
THICKER THAN WATER
(birthdays, weddings, funerals, divorce)
On the day of
the father's birthday, and his
youngest surviving son's wedding,
and his
older brother's daughter's birthday,
they return,
the past
flickering across their
faces like firelight
they sit in
circles singing
familiar (sacred) songs
trying to be
one.
FLIGHT TO A NEW WORLD
(a manifest destiny)
We had a dream
when we were young
of riding the gust of wind
to a new home
a land
free
from want and sorrow
filled
with wealth and plenty
and God our father said
it would be
ours.
LA PLUS ÇA CHANGE
(sundogs / metamorphosis)
(portent of change / illusion of change)
We came for salvation
we came to escape
(intolerance ignorance
poverty and disease)
we came to save
but lost the refuge we had gained
we came to teach
but we have come to learn
that though we came to sow
we now have come to reap
the wages
of harbouring our own
(intolerance and ignorance)
and have cast a net of
(poverty and disease)
with such speed and ease
we blame it on the pavement
of the road to hell.
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