By Ryan Day
A woman lies naked on a bed, seductively positioned and beckoning. Red lingerie is scattered on the floor. But it’s not what you think. Really.
The painting by Lawrence Yuxweluptun, entitled Oh Lawrence, Oh Lawrence, turn out the lights and come to bed… Yes, dear, is somewhat beyond typical erotica.
The woman in the painting is covered with tattoos or body paint, and her head resembles a mask painted by a West Coast native tribe.
It is but one of the many pieces on display in the exhibition Exposed: Aesthetics of Aboriginal Erotic Art, currently showcased at the Ottawa Art Gallery. The exhibit, which opened March 16 and will run until May 14, is a creation of the MacKenzie Art Gallery in Regina.
“It’s kind of a landmark in cultural studies,” Ottawa Art Gallery curator Sylvie Fortin says of the exhibit. “It goes beyond saying ‘this is the work of aboriginal artists,’ which a lot of shows from the 80s and 90s focused on.”
Several of Canada’s foremost native artists are showcased, though in ways few have seen before. According to Fortin none of the works in the exhibit have ever been publicly displayed.
“They’ve all been in collections,” she says, “but kept in storage. It’s a part of (aboriginal culture) that’s always been repressed.”
Norval Morrisseau, an honoree of the Royal Canadian Academy of Art and a recipient of the Order of Canada, has had many works shown in Canada, the United States and Europe. British Columbia artist Daphne Odjig has been featured in exhibitions since 1967, and like Morrisseau is also a member of the academy and the Order of Canada.
Many of the paintings portray the erotic aspects of many native myths and legends. G. Ray McCallum’s Wesakechak and the Old Woman on a bed of gold leaves takes its cue from the story of an old woman who fooled the mythological trickster Wesakechak into sleeping with her instead of her attractive daughters, after whom Wesakechak lusted.
The exhibition also turns to the personal with works by Morrisseau on the nature of heterosexuality and homosexuality. Indian Erotic Fantasy shows two male lovers in an embrace, while Conception focuses on the creation of life.
Both works combine a graphic depiction of sexuality with bright, vibrant colours symbolizing spirituality.
Fortin thinks both themes are important.
“Erotic stories are a part of learning, a part of culture,” she says. “They contribute a lot to native culture.”
Despite the graphic and overtly sexual qualities of the collection, the gallery has yet to receive any complaints, says communications director Nancy Burgoyne.
“We don’t have a lot of children coming in, since we unfortunately don’t have any children’s programs,” she says. She also credits the location of the gallery: there are very few groups located in Arts Court that cater to young children and families.
Albert Jackson, a visitor to the gallery, said he wasn’t offended and even liked it, though he knows little about aboriginal art.
“I can’t remember seeing anything quite like it. It’s very different and unusual, but I like it.”