0:00

so how do I want to build the space in

0:02

which I invite people and I was always I

0:06

love painting but for me I I could not

0:09

feel I would not feel a competent to

0:11

prove to make a painting I see when I

0:13

see a frame I want to enter I want the

0:15

frame to become a door

0:17

so I say what if I can contribute to the

0:21

development of art and culture and ideas

0:23

for me the frame becomes a door and I

0:25

want to enter and I if I enter that

0:28

painting you know I can imagine it in 3D

0:30

I can imagine like going some fields are

0:33

transparent I go beyond them I look at

0:35

it from behind so this is what I’m

0:37

trying to do my material are photographs

0:39

their videos they’re like the things you

0:42

do with these simple tools but I try to

0:44

arrange them to create a sort of Garden

0:46

of sound and images and transparencies

0:49

and a place where it’s not a game you

0:52

know I’m using game engines to put this

0:54

together and let you navigate through it

0:56

but it’s not the game the game it would

0:57

just be too

0:58

hang around looked at something that

1:01

grabs your attention why I don’t know

1:03

maybe something that speaks to you at

1:04

one point uh you stop you spend some

1:07

time with it and then you move on

1:09

I’m a Sculptor I’m an installation

1:12

artist

1:14

and I have these stories inside

1:18

and what I try to do with my work is

1:21

find a way to tell a very complex story

1:25

in a object

1:28

[Music]

1:30

unlike Luke

1:32

I don’t take a library of images that

1:37

you can travel through and construct a

1:39

narrative

1:40

The Narrative is clear already we know

1:43

the history

1:44

we should know the history what I find

1:47

out of course is

1:49

we don’t know the history the history

1:52

has been hidden

1:54

it has been withdrawn from our

1:58

grasp and we are the poorer because we

2:02

don’t have a hold of our history

2:05

and so gradually over the years my life

2:08

and my work has come to be about trying

2:11

to grab that history back

2:13

because I believe that only when we have

2:16

knowledge of what occurred

2:19

can we begin a work of repairing

2:22

what what was what was wrong about that

2:27

what I like to do is take materials of

2:30

different kinds

2:32

and use their complexity and also their

2:35

Simplicity to help me to construct that

2:39

narrative

2:40

but I I should say that I’ve been

2:43

involved in two communities all my life

2:46

the Japanese Canadian community and the

2:49

Art of artists community

2:52

and my activities and projects in these

2:54

two communities have run through my life

2:57

in parallel pretty well

2:59

and sometimes they get to cross over and

3:03

blend and it’s um particularly

3:06

gratifying when that happens

3:09

all the while I’ve made art

3:12

and I wrote this description of what I

3:16

do years ago but I think it still holds

3:19

true I said in my personal work

3:23

um and it kind of explains the

3:25

eclecticism of my work in my personal

3:28

work I like it when I can combine two or

3:31

more of the following Japanese

3:33

canadian-ness abstract expressionism

3:38

Hamilton the City by where I live

3:41

literature and a sense of communality

3:45

I want them to be gracefully awkward

3:48

combinations

3:50

and surprising Encounters this new work

3:55

I did I did a residency at one Escape

3:57

one which is a Heritage Park in

3:59

Saskatchewan

4:01

where I’m from I’m from treaty four

4:04

but it’s for the cree people would

4:06

gather and there’s five bison jumps

4:09

and so I was invited to do a residency

4:11

in the summer

4:13

and two years ago

4:16

they reintroduced the Bison back to this

4:19

land

4:20

where they had

4:22

lived for millennial

4:25

and

4:27

because bison you know they like to get

4:29

down and rub and bathe in that dirt they

4:33

exposed four rocks for petroglyphs

4:37

I know

4:39

and I knew this before they told you

4:43

know the public about it and I had to I

4:45

couldn’t tell anybody I was just like

4:47

it’s kind of like getting this GG award

4:49

I couldn’t tell anybody for four months

4:53

[Music]

4:54

and then I just found out on

4:57

International indigenous day on

4:59

September 30th

5:01

there was a baby bison born so this

5:04

residency I just wanted to honor the

5:07

bison

5:08

and I was thinking about how our our

5:11

people are contemporary indigenous

5:13

people we use a ribbon and we use it for

5:15

ownership celebration like ribbon skirts

5:19

ribbon shirts so for me this is honoring

5:22

the Bison being returned to their

5:25

Homeland

5:26

and I didn’t go to art school but I

5:28

studied myself like people asked me and

5:30

I said I went to Art School like the

5:32

prince super Public Library

5:35

but I know a lot and I I wanted to know

5:38

what good art was and um and I found too

5:41

that like to be a true artist you have

5:44

to continuously learn and use it and

5:46

what I’m trying to do now is put what I

5:50

know in into my pieces into my sculpture

5:54

and that’s what I’m doing now with my

5:55

new pieces and I’m I’m working on a show

5:58

now about the cameras because I realize

6:01

we’re the last First Nations can

6:04

regeneration that lived there work their

6:07

fish there you know like and uh

6:11

there’s no more cameras and the calories

6:13

have been running in in northern BC for

6:17

over 100 years and our people were

6:18

always involved First Nations

6:21

so what I want to do I want to make

6:23

statement about that and also I want to

6:25

make statement about we’re losing our

6:28

salmon like the Buffalo you know like

6:30

that’s our buffalo

6:33

you know because you know like all the

6:34

animals that depend on it and um

6:38

so that’s that’s what I’m working on now

6:40

I’m working on a show about the Cannery

6:42

days I’m going to call the Cannery days

6:43

The Glory Days

6:45

it took me many years

6:49

to get back to

6:52

my Rouge because I want to wear

6:56

residential school it had something to

7:00

do with that

7:01

so it took me many years

7:06

to get back to my roots where you know

7:12

where I was born

7:14

and uh and I’ve been that’s what I do is

7:20

mostly

7:22

lectures and how to do our animations

7:27

[Music]

7:28

uh about uh elections and men and that’s

7:34

one of them I think about seven Legends

7:39

uh put together so that’s where I am now

7:44

and I’m you know slowing down a little

7:49

bit

7:49

but I probably will keep going

7:53

until right to the end you know what

7:57

else can I do you know

8:02

so I’ll be doing artwork all my love

8:06

I’ve never done anything else it’s an

8:11

art

8:12

in my early work I did mostly

8:14

performance art and it’s not depicted

8:16

here at all but

8:18

um I think it was because of the time I

8:20

didn’t have my language I’m learning it

8:22

now as an older person but um

8:26

so I realized that the early performance

8:28

work with me trying to find a sort of a

8:30

personal lexicon with my body and

8:32

materials you know and I was trying to

8:34

say something I was trying to express

8:36

myself and when I started learning my

8:38

language

8:39

my desire to sort of be performing and

8:43

to be making the work I was making sort

8:45

of started to fade away because I

8:47

realized the language the language knew

8:50

me you know my language knew me and and

8:52

I didn’t have to do all the kind of

8:55

gestures I was doing for so long

8:57

and then so I started moving from making

9:02

work that was about me performing to

9:04

work that was about other people

9:07

getting to participate but other people

9:10

being the focus of the work so I started

9:13

realizing that uh in in my life when I

9:17

went visiting and then my languages

9:20

like knowledge transfer you know you go

9:23

to someone’s house and in that process

9:25

of having that visit you know some

9:27

knowledge has been transferred you know

9:29

there’s an interchange and I started

9:31

realizing that there was like stories

9:33

that would be like oh that’s an amazing

9:35

story you know and it had a

9:36

transformational effect on me and so

9:39

this piece is a piece about

9:41

transformation and it’s based on a story

9:44

from our our Elder sibling my name is

9:47

Amy gogurdy and along with Rayne Mackay

9:49

the director of The Craft Council of BC

9:52

I had the very great honor of nominating

9:54

lulin for the 2021 Sadie brownsman

9:57

Governor generals award

9:59

the trajectory of her career events is a

10:02

continual development and refinement of

10:04

her technical skill and artistic Vision

10:07

throughout she has focused on the iconic

10:10

forms of tools and other functional

10:12

objects these attract her for the

10:15

relationship to craft and human culture

10:17

emphasizing what craft historian Howard

10:20

rizzotti has described as the

10:22

relationship between Cool Tools and the

10:25

human hand which is the very basis of

10:27

craft in many ways Lynn thinks of her

10:30

work in terms of the archeology of

10:32

everyday life she collects antique tools

10:35

admiring them for the beauty of their

10:37

forms and for their archaeological

10:39

interests the tools she makes however

10:43

are impossible they will never be used

10:46

combining the strength of bronze with

10:48

the fragility of glass her abstract

10:51

forms exaggerate and expand the notion

10:53

of the tool yet they speak to the mind

10:55

and the imagination rather than to any

10:58

pressing task

11:00

many of lulin’s tools appear to be

11:02

fragments of larger machines

11:05

although obscure as to their original

11:07

purpose these works are characterized by

11:09

Precision attention to detail and finish

11:13

[Music]

11:15

foreign

11:20

[Music]

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