In a symbolic act of community and cultural repair, the Tracings cover up chips in the concrete pillars holding up the expressway, with Williams hoping they will be a 'celebration of our culture and our continued presence in the territory today'.
Williams experiments with new forms by incorporating traditional Anishinaabe practices into his artwork, such as using floral motifs made of birch bark cutouts passed down through generations, but this time working with the concept of tracing.
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