Woodland Art Collection

About the Artist

Carl Beam (1943-2005) was an Ojibwe artist from M’Chigeeng. Born Carl Edward Migwans on West Bay (M’Chigeeng), Manitoulin Island, Beam was a Survivor of the Garnier Residential School, an experience he referenced in several works. Beam studied at the Kootenay School of Art, the University of Victoria, and the University of Alberta. In 1986, Beam’s The North American Iceberg became the first work acquired from an Indigenous artist as a contemporary work, rather than as an ethnographic piece, by the National Gallery of Canada. Through his work, Beam grappled with questions of identity, prejudice, homelessness, hunger, and what it means to live a good life. Beam believed everyday actions and decisions could have profound effects on the world. Beam was inducted into the Royal Canadian Academy of the Arts in 2000 and received the Governor General’s Award in Visual and Media Arts in 2005. In 2010-2011, the National Gallery of Canada held a major retrospective which recognized Beam as one of Canada’s most influential artists who succeeded in eliminating the boundary between Indigenous and contemporary art. The retrospective later toured Canada and the United States.  

Works

About the Artist

Leland Bebaminojmat Bell (1953-) is an Ojibwe-Odawa artist who was born on Wikwemikong Unceded Territory and raised between there and Toronto. Bell is known for his use of stylized human figures, inspired by family and friends, depicted in images of nurturing, sharing, and learning. Bell, whose traditional name, Bebaminojmat, means when you go around you talk about good things, studied art at Laurentian University in Sudbury. Bell believes that the way that colours, lines, shapes and compositions are perceived can be understood in the context of Anishinabe culture. Bell was mentored by members of the Indian Group of Seven at the Manitou Arts Foundation summer school that operated on Schreiber Island in 1972. Bell has painted professionally since 1976. He is also a devoted writer and musician who often collaborated with Dr. Shirley Cheechoo and her husband Dr. Blake Debassige to write music for Cheechoo’s film projects. 

Works

About the Artist

Dr. Blake Debassige (1956-2022) was a world-renowned Ojibwe artist from M’Chigeeng who began painting at age 16. After meeting Carl Ray, Debassige attended the 1972 Manitou Arts Foundation summer program to be mentored by the Indian Group of Seven (Professional Native Indian Artists Inc. (PINAI)). Less than one year later, Debassige’s first solo exhibition was hosted at the Ontario Institute for Studies in Education (OISE) in Toronto. Debassige went on to exhibit his work across the globe. He was a founder of the Debajehmujig Theatre Group and the Weengushk Film Institute, and co-owned Kasheese Studios Art Gallery with his wife Dr. Shirley Cheechoo. In addition to his painting, Debassige was a teacher and a sought-after musician who was admired for his committment to living by the traditional teachings of his elders. Debassige’s art can be seen at the Canadian Museum of Civilization, McMichael Canadian art collection, Ojibway Cultural Foundation, Anderson Lake Spiritual Centre, and Assembly of First Nations. 

Works

My People’s Travels (n.d.)

Two boats filled with human figures being pulled by turtle. Browns, greys, gold, green
Acrylic on canvas, 51.00 x 47.00 in.
Location: Wetmore Hall, Senior Common Room, north wall

About the Artist

Dusty Kakegamic (1962-unknown) was an Oji-Cree artist from Keewaywin.

Works

Birth of Beavers (1978)

Two beavers, one giving birth to two young. Red, gold, and grey-blue on white ground
Acrylic on paper, 22.25 x 30.25 in.
Location: Wetmore Hall, Senior Common Room, west wall

Dancing of Great Spirits (1978)

A large purple figure [C] with 3 red figures within its skirt. Gold spirits with spiny backs on either side
Acrylic on canvas, 23.00 x 31.00 in.
Location: Wetmore Hall, Senior Common Room, east wall

Feeding the Young (1978)

Mother feeding young. Two beings combined into one semi-circle; red being at L (top), gold at R (bottom)
Acrylic on canvas, 20.75 x 15.13 in.
Location: Wetmore Hall, Senior Common Room, west wall

Family (1978)

Three humans: father, mother, nursing child and two birds in a boat. Divided red sun at u.r.
Acrylic on canvas, 16.25 x 21.25 in.
Location: Wetmore Hall, Senior Common Room, east wall

About the Artist

Goyce Kakegamic (1948-2021) was a prominent Oji-Cree painter, printmaker, educator, and community leader. Born on Sandy Lake Indian Reserve, Kakegamic began painting as a teenager, mentored by his brother-in-law, Norval Morrisseau, and artist Carl Ray. Under the guidance of these two mentors, Kakegamic and his brother Joshim became successful professional artists. Kakegamic went on to learn screenprinting at the Open Studio in Toronto—a craft that would play a major part in his career. Inspired by Daphne Odjig’s Indian Prints of Canada Ltd. Company, Kakegamic and his brothers Joshim and Henry established the Triple K Cooperative printing company in 1973. The company enabled artists, including Norval Morrisseau, Saul Williams, Barry and Paddy Peters, to present their work in an unfiltered, independent, and unique way. For ten years, Triple K Cooperative provided an infrastructure that resulted in many artists having their work exhibited and acquired by prominent art galleries and museums both nationally and globally. Triple K became the largest and most successful Indigenous economic development initiative in Northwestern Ontario. Kakegamic’s style is rich with spiritual imagery and symbolism, illustrating the heritage and legends of the Anishinaabeg. Kakegamic’s work can be found in numerous public and private collections throughout North America and Europe, including the permanent collections of the Museum of Civilization and the McMichael Canadian Art Collection. In addition to his art career, Kakegamic was a devoted community leader who served as a Deputy Grand Chief of Nishnawbe Aski Nation. 

Works

Flight (1978)

Two stylized, abstracted birds facing each other; black lines with brightly coloured features on white ground
Acrylic or gouache, 32.25 x 40.25 in.
Location: Wetmore Hall, Principal’s office

Untitled (1) (1978)

Two highly abstracted (curvelinear) figures with raised arms, three beavers below. White ground.
Acrylic on canvas, 47.50 x 62.50 in.
Location: Wilson Hall, Library, main level, west wall

Family (1978)

Two large abstracted, curvilinear figures with two smaller figures in centre, divided circles at u.r. and u.l.
Acrylic on board, 34.25 x 27.25 in.
Location: Wetmore Hall, Principal’s office

Untitled (2) (n.d.)

Description needed
Acrylic on board, dimensions unknown
Location: Wetmore Hall, Business Services, Office of the CAO

About the Artist

Joshim Kakegamic (1952-1993) was an Oji-Cree artist from Sandy Lake. Kakegamic began painting as a teenager in the late 1960s, mentored by his brother-in-law, Norval Morrisseau, and Carl Ray. In 1973, Inspired Daphne Odjig’s Indian Prints of Canada Ltd., Kakegamic established the Triple K Cooperative with his brothers Goyce and Henry in 1973. Based in Red Lake, Triple K enabled artists, including Morrisseau, Barry Peters, Paddy Peters and Saul Williams, to present their work in an independent and unique way. For ten years, Triple K was the largest and most successful Indigenous economic development initiative in Northwestern Ontario. The company provided infrastructure used by many artists to exhibit and sell their work to prominent art galleries and museums around the world. During his life, Kakegamic’s work was exhibited throughout Canada, England, and Germany. Kakegamic tragically passed at the age of 41 while attempting to save the life of a drowning person. Kakegamic’s paintings are held in private and corporate collections  including at the McMichael Museum, The Canadian Museum of History (previously known as The Canadian Museum of Civilization), the Royal Ontario Museum, and the Thunder Bay Art Gallery. 

Works

The Shaking Tent (1977)

A figure encircled in tent shape [l.l.]; a larger woman-like figure [R] gesturing toward tent. Black, red, brown, gold, green
Acrylic on paper, 22.09 x 29.57 in.
Location: Wetmore Hall, International Foundations Program office

About the Artist

Morley Kakepetum (1936-2010) was an Ojibwe artist from Sandy Lake (some sources indicate Thunder Bay)

Works

The First Beaver House (n.d.)

Beaver and its young swimming
Acrylic on canvas, dimensions unknown
Location: Wetmore Hall, Business Services, Office of the CAO

About the Artist

Eleanor Kanasawe (1958-) is an Ojibwe artist from Wikwemikong Unceded Territory. Born in the heart of Manitoulin Island, Kanasawe’s artistic journey began during high school, where she painted alongside early mentor, Martin Panamick. This collaboration ignited her creative spirit, laying the foundation for her self-taught artistic prowess. Captivated by the intricate threads of her Anishinaabeg heritage, Kanasawe immersed herself in nature and found inspiration in age-old craft traditions. Kanasawe’s exploration led her to embrace diverse mediums, using intricate beadwork, rustic birchbark, and supple deerhide alongside canvas. Kanasawe attended summer artists retreats at Birch Island, Ontario, which fueled her creativity and strengthened her connection to nature and culture. Kanasawe’s art has graced the walls of numerous galleries and museums, particularly in Sudbury, Manitoulin Island, and Toronto, Ontario, where her exhibitions garnered attention and acclaim. 

Works

Two Eagles (1978)

Two brown eagles in flight with claws outstretched, two yellow orbs [u.l. and l.r.], all connected with black “power line”, orange background
Acrylic on canvas, 30.50 x 28.50 in.
Location: Wilson Hall, Library, main level, stairwell grouping, east wall

About the Artist

John Eric Laford (1954-2021) was a celebrated Ojibwe artist born on the West Bay (M’Chigeeng) of Manitoulin Island. The grandson of hereditary Chief Dominic Migwans and Anne Commanda, Laford’s art was inspired by the Ojibwe stories of Manitoulin Island. Laford studied art at Algonquin College and pottery with the Zuni peoples at The Institute of American Indian Arts in Santa Fe, New Mexico. Laford interpreted visions, stories, and legends of his elders through his paintings on various materials including paper, birch bark, canvas, pine, cedar, and pipestone. Laford’s works are poignant studies of all creation, offering vivid colour and inttricate geometric compositions to narrate stories of spirits, elders, animals, birds, and plants. In 1989, Laford was one of only two First Nations artists to receive a Canada Council Award, which enabled him to travel through Canada, and into the United States and Spain. Laford’s paintings can be found in museums across Canada, the U.S. and Australia, as well as in numerous private collections across the globe. Laford’s paintings have been exhibited in New York, USA, Vienna, Austria, Fribourg, Switzerland, Bad Nauhein Germany, Ibiza, Spain, Sante Fe, New Mexico, Petoskey, Michigan, Vancouver, and Montreal. 

Works

Legend of Another Time (n.d.)

Description needed
Acrylic on paper, 29.00 x 22.50 in.
Location: Wilson Hall, Library, main level, balcony, east wall

Medicine Turtle Dance (n.d.)

Central figure with turtle below
Acrylic on paper, dimensions unknown
Location: Wetmore Hall, Business Services, Office of the CAO

About the Artist

Daphne Odjig (1919-2016) was an Odawa artist from Wikwemikong Unceded Territory. Odjig was a founding member of the 1970s artists’ alliance Professional Native Indian Artists Inc. (PINAI), also known as the Indian Group of Seven. Odjig’s career spanned six decades and includes lyrical legends paintings, personal reflective memories, and trenchant historical and political critiques. Experimental and creatively fearless, Odjig’s styles and media varied widely with her subject matter. Fluid calligraphic lines characterized her early narrative paintings in the 1960s, while her history paintings in the 1970s were densely expressive. Odjig’s elegiac colour studies of the British Columbia forests were featured in her work in the 1980s. In her long career, Odjig combined her originality as a painter with her social awareness as a feminist to create a body of work that helped bring an Indigenous voice to the foreground of contemporary Canadian art.  

Works

John Paul (1978)

Adult figure with three children nestled against their side; bright colours and earth tones on pale green ground
Acrylic on canvas, 40.00 x 31.75 in.
Location: Wilson Hall, Library, main level, stairwell grouping, east wall

About the Artist

Martin Panamick (1956-1977) was an Ojibwe artist from M’Chigeeng. Panamick’s artistic talent was recognized early; he attended the Manitou Arts Foundation summer program on Schreiber Island in 1972 where he was mentored by Daphne Odjig and Carl Ray. Panamick’s artistic work included  paint, silk-screen prints, and india ink drawings. He worked to preserve and share his cultural heritage by illustrating books of Ojibwe stories and traditions. The illustrations in Nishnabe Delights, a cookbook featuring Ojibwe and Odawa recipes from Manitoulin Island, placed cooking traditions alongside the storytelling and visual traditions. Panamick’s  work was also featured in public spaces and commercial products. Panamick’s life was tragically short; after a motorcycle accident at age 21. 

Works

Untitled (n.d.)

Sea tortoise seen from above; b&w
Ink on paper, 11.89 x 9.92 in.
Location: Wetmore Hall, Business Services, Office of the CAO

About the Artist

Carl Ray (1943-1978) was an Oji-Cree artist from Sandy Lake who was a member of the Indian Group of Seven (i.e. Professional Native Indian Artists Inc. (PNIAI)). Known in his community as Tall Straight Poplar, Ray began hunting and trapping after Surviving an Indian Residential School and returning home at the age of fifteen. At this traditional way of living Ray considering himself a failure. In his own words, “a year’s catch consisted of four beaver, one lynx, and an assortment of mice and rabbits”. Despite showing artistic promise at an early age, Ray was reluctant to paint the sacred beliefs and stories of his people and did not touch a brush for many years after been discouraged by elders. Ray left the reserve to work in the Red Lake gold mines where he eventually contracted tuberculosis. After recovering in Fort William, Ray returned home in 1966. It was Copper Thunderbird (Norval Morrisseau)’s success painting sacred stories that allowed Ray to confidently pursue his craft. Ray apprenticed under Morrisseau, painting the mural Morrisseau had designed and sketched for the Indians of Canada Pavilion of Expo ’67 in Montreal. Unfortunately this masterpiece is lost as it was left to fall into disrepair and was eventually demolished. In the early 1970s Ray had the first solo exhibition of his black and sepia, Woodlands style paintings on paper and canvas at Aggregation Gallery in Toronto. Aggregation Gallery continued to represent his work and estate through to the early 1980’s.

Works

Going to Heaven (1978)

Skunk, beaver, and bird following flesh-coloured path [l.r. to u.l.], sun at u.r.]
Acrylic on canvas, 30.00 x 40.00 in.
Location: Wilson Hall, Library, main level, stairwell grouping, south wall

Grandfather Smoking Pipe (n.d.)

Grandfather seated on ground with pipe in left hand
Acrylic on canvas, 23.62 x 29.33 in.
Location: Wilson Hall, Library, main level, stairwell grouping, south wall

Separation (1976)

Winged beast separating from prostrate male figure; browns and ochre
Acrylic on canvas, 18.82 x 24.53 in.
Location: Wetmore Hall, International Foundations Program office

About the Artist

Simon Mishibinijima (1954-) is an Ojibwe artist from Wikwemikong Unceded Territory. Mishibinijima was born to a family of thirteen on Manitoulin Island. Mishibinijima realized his gift at a very early age and his first international art exhibition was held in Rome at the age of nineteen. His most common statement is: Any artist in the world will reflect his surrounds to paint his subjects and how that artist delivers his message means success in what he does. Mishibinijima’s most common theme is painting islands and water because a human being is an island and his inner universe is made out of water, destroy one part of who he is will mean, he will destroy himself forever. 

Works

Bear (1980)

Seated bear. Black, yellow, grey, gold, brown
Acrylic on canvas, 18.62 x 19.61 in.
Location: Wilson Hall, Library, main level, Stacks window (south wall)

Porcupine (1980)

Horizontal porcupine in profile, parts of body shown in x-ray form; orange, red, brown, yellow, etc. with black quills
Acrylic on canvas, 19.69 x 23.70 in.
Location: Wilson Hall, Library, main level, Stacks window (south wall)

About the Artist

Roy Thomas (1949-2004) was a self-taught Ojibwe artist from Longlac Reserve at Pacquashun. Raised by his grandparents who encouraged him to express himself through art, Thomas would listen to his grandmother’s stories, drawing what he heard with a stick, using sand or snow as his canvas. As he grew older, he replaced the stick with pencil and brush. Thomas devoted himself to learning the history and teachings of his people, and to promoting Anishnaabe culture. He was given the traditional name Gahgahgeh, which means crow. Thomas’ style was largely influenced by Norval Morrisseau, Daphne Odjig and Carl Ray. Thomas’ work is known for bold lines and colours, depicting totemic animals, Ojibwe traditions and legends. Thomas had numerous solo and group exhibitions around the world. His work is part of major Indigenous art collections across Canada, the United States, Europe and Japan. 

Works

Untitled (n.d.)

Wolf or bear with diving bird above, linked by semi-circular lines (black, green)
Acrylic and graphite, 14.33 x 21.46 in.
Location: Wetmore Hall, International Foundations Program office

Moose and Wolves (1977)

Description needed
Acrylic on board, 30.25 x 20.00 in.
Location: Wilson Hall, Library, main level, south wall

About the Artist

Randy Trudeau (1954-2013) was an Odawa-Ojibwe artist from Wikwemikong Unceded Territory. Born on Manitoulin Island, Trudeau was raised in Buzwah, Ontario by his grandparents. He attended the Manitou Arts Foundation summer program on Schreiber Island in 1972 where he was mentored by Daphne Odjig and Carl Ray of the Indian Group of Seven (also known as the Professional Native Indian Artists Inc. (PNIAI)). To provide for his family, Trudeau spent part of his life working as a contractor and heavy equipment operator. From 1994 to 2000, Randy taught Native symbolism in a variety of schools across Ontario. He was an active community member, and donated numerous artworks to fundraising and anti-poverty organizations. Trudeau’s art was featured in the book Visions of Our Native American Heritage by Stock and Stock. His works were exhibited worldwide and are represented in major national collections. 

Works

Signs of the Weather (1977)

A large standing bear with arms outstretched to right, lightning-like bolts emanating from u.r., orange background
Acrylic on canvas, 37.37 x 25.25 in.
Location: Wilson Hall, Library, main level, stairwell grouping, east wall

Untitled (1977)

Standing bear; black and brown ink wash
Ink on paper, 18.66 x 11.77 in.
Location: Wetmore Hall, Business Services, Office of the CAO

Nokomos Became Powerful (n.d.)

Figure kneeling, arms outstretched, looking to heaven; divided circles at L and R; orange, salmon, grey, black
Acrylic on canvas, 17.40 x 25.59 in.
Location: unknown

Thunderbirds (1979)

Two thunderbirds coming to earth, black hill at R, plain and forests, birds; browns, ochres, whites
Acrylic on canvas, 50.00 x 50.00 in.
Location: Wilson Hall, Library, main level, west wall grouping

About the Artist

Saul Williams, (1954-) is an Ojibwe painter and graphic artist from North Caribou (Weagamow) Lake. In the summer of 1968, Williams met Dr. Mary Black who he began doing translation work. Noticing that Williams was often doodling and sketching, Black gifted Williams acrylic paints and later paid him five dollars to paint a stylized raven on her wall—a piece that is now a part of the Royal Ontario Museum collection. Williams is largely self-taught. In 1971, he held his first exhibition at York University in Toronto. Other exhibitions followed, including one at the Oakville Centennial Gallery, two at the McMichael Canadian Art Collection, and four at the Royal Ontario Museum. Williams’ 1984 exhibition at the Art Gallery of Ontario was one of the first exhibitions of Indigenous art at the institution. Today, Williams is a community leader and advocate for the inclusion of Indigenous languages, traditions, and cultures in curriculum. He currently serves as the Education Director at the North Caribou Lake Education Authority. Williams’ works are held in private and public collections including the Royal Ontario Museum; the McMichael Canadian Art Collection; the Canadian Museum of Civilization; New College, University of Toronto; the Woodland Cultural Centre;  and the Thunder Bay Art Gallery 

Works

Loon (1978)

Loon standing on ground, bullrushes on either side
Black ink on canvas, 11.42 x 17.64 in.
Location: unknown

Turmoils of Life [Using Animals as Interpretations] (n.d.)

Head in profile with horned bird protruding from mouth, serpent at L, bear at R
Acrylic on canvas, 21.50 x 29.21 in.
Location: Wilson Hall, Library, stairwell grouping, east wall

Mythical Creatures [Surrounding Man] (n.d.)

Colourful animals (bear, three birds, and ?) atop green mound
Acrylic on canvas, 28.25 x 35.38 in.
Location: Wilson Hall, Library, stairwell grouping, east wall

Diving Birds (1978)

Two diving birds (green, red, yellow) with sun at l.l. and hill and trees [l.r.], blue background
Acrylic on canvas, 37.38 x 28.25 in.
Location: Wilson Hall, Library, main level, near Stacks entrance

Aminnasopan [We Call These Men] (1976)

Currently at Art Museum

Snake and Frog (1977)

Currently at Art Museum

Man under the ice (1980)

Currently at Art Museum

Fish (1980)

Currently at Art Museum

Not titled [A Mystical Creature] (1983)

Currently at Art Museum

Geese (1991)

Currently at Art Museum