Norval Morrisseau proteges Ritchie Sinclair and Brian Marion (1994)

Norval Morrisseau chose Brian Marion and Ritchie Sinclair to seed with enhanced artistic vision over extended periods of time. I have now known Brian for more than three decades. I consider him my beloved brother. I know that Norval loved and appreciated him too.

Ritchie Sinclair and Brian Marion

The Omega Centre - Toronto - 1994

In front of a Stardreamer original entitled., The Offering"

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Brian is a profoundly intelligent artist with commanding composition skills that present core teachings of Spirit within a traditional framework. I find his work exhilarating. He has so much to offer. He is also a fine teacher. Unfortunately he struggles with diabetes related illnesses, including phantom pains from the loss of a leg last year.

In spite of that he paints on. I witnessed him working on a new 8' x 4' canvass the other day. I hope one day people realize that saturating the Woodland art market with Morrisseau fakes has been extremely detrimental to Woodland art and artists in general. Brian Marion is a case in point. How sad that greed so often gets in the way and worthy people suffer because of it.

This whole fiasco of the fraudulent mis-use of Norval Morrisseau's identity leads me to consider the merit of removing identity from those who don't deserve it because of their atrocious acts.

One receives an Indian "name" because they deserve it...and are it. What if in like kind, for crimes against humanity, monsters lose their identity entirely,

For example, what if nine years ago "the People" had removed Bin Laden's identity from society, adding him to a list of revoked names? He would henceforth be known only as K-1454. In Ontario we have current news headlines about a predator confessing to his sickening acts. He receives notoriety and a thrill because of it. Monsters like this should go down in history as mere numbers and letters without meaning, or family. Excommunication from humanity is unfortunately, a reality.

Should people who steal the identity of others pay with losing their own identity? I don't think so. Its too high a price to pay. Still...It makes one consider the value of identity and the ruthlessness of stealing something so sacred from another.

I look forward to the transparent humanity of the future and an end to power-tripping in all its forms. We can be better than that.

The Meeting Place Mural

1994 - First International Pow Wow - Skydome - Toronto

Thunderbird School of Shamanistic Art

Ritchie Sinclair and Brian Marion
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"The aboriginal-inspired mural by Star Dreamer (aka Ritchie Sinclair), consisting of 28 linked canvas panels, was created as the centre piece of the lst Toronto International Pow Wow at the Skydome in Toronto in l994. Ritchie occupies a unique place in the Canadian pantheon of artists as the Scottish - lineage protege of Ojibway shamanistic artist Norval Morrisseau. The mural depicts the native legends of the formation of North America , contrasted with Toronto's contemporary architecture, like the CN Tower." It is 20th century Canada's version of the native totem pole," says Ritchie. It includes a cameo contribution by fellow Morrisseau protege, native artist Brian Marion and remained on view at BCE Place to mid-April. "

Artfocus Magazine

Spring 1997

THE MEETING PLACE CONSISTS OF 28 SEPARATE, STRETCHED, CANVASSES, WHICH TOGETHER, CREATE A UNIQUE ARTISTIC INSTALLATION - THE MURAL TOOK 5 YEARS TO COMPLETE AND HAS BEEN PAINTED WITH A VARIETY OF ACRYLIC MEDIUMS THAT REACT SPECTACULARLY UNDER DIFFERENT LIGHTING CONDITIONS - THE MURAL, IN FACT, WILL GLOW IN THE DARK, TO REVEAL THE MAGNIFICENCE OF THE GREAT SPIRIT, SYMBOLIZED.


THE ARTWORK ITSELF STRETCHES 21 FEET ACROSS AND STANDS 16 FEET IN HEIGHT THE CANVASSES ARE SQUARE, YET THEY ARE HUNG IN A DIAMOND-LIKE FASHION SYMBOLIZING. THE 4 DIRECTIONS, THE 4 SEASONS, THE 4 STAGES OF LIFE, THE 4 RACES, THE 4 KINGDOMS IN NATURE, THE 4 BODIES OF SENTIENT LIFE, THE 4 ELEMENTS, AND THE 5TH ELEMENT SYNTHESIZING THEM ALL... THE GREAT CREATIVE SPIRIT.

Note: The mural entitled, "The Meeting Place" and the painting above entitled, "The Offering" are amongst art that was stolen by Randy Potter Auctions of Port Hope colluding with Centron Self Storage of Toronto.

Stardreamer

Observations of the Astral World (1994) Norval Morrisseau

Observations of the Astral World

Norval Morrisseau

1994, acrylic on canvas, 93" x 202"

Collection of the National Gallery of Canada

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Migration (1994) Norval Morrisseau

Untitled (Migration)

Norval Morrisseau

1994, acrylic on canvass, 55" x 183"

From the beginning, Morrisseau created a visual bridge from the culture of the Anishnaabe to art, in terms of subject matter and style. His pictographic style has its roots in the distinctive beadwork of the Anishnaabe, where black rows of beads separate and delineate shapes such as the petals of a flower. He also had an early interest in colour, perhaps derived from the iconography of the Ojibway people in their traditional clothing, adornments, dyed porcupine quills and, later, glass beads.

To this Morrisseau added his own iconography. He reveals the souls of humans and animals through what has been simplistically termed an x-ray style of imaging. Sinewy black spirit lines emanate, surround and link the figures,while stylized skeletal elements and internal organs within the figures’ segments represent their spirituality, as well as, sometimes, their physical strength(rigid bone structure) or health and vitality(enlarged heart of a bird). Dots denote power. Lines drawn out of people’s mouths represent power or communication or establish relationships. An intersected circle expresses the idea of duality - night and day, men and women - and the concept of the necessity of two halves to balance the whole.

Barbara Sibbald

Exerpt from - Artist as visionary - 2006

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Grandfather Teaching his Grandson that in Spirit we are all one (1994) Norval Morrisseau

Grandfather Teaching his Grandson

 that in Spirit we are all one

Norval Morrisseau

acrylic on canvas, 44" x 58", 1994

On the inside door of his studio, Janvier has written “To all my friends who enter through this door. Ho’an ekolanthe. There is peace here with your arrival.” To the right of the invocation is a photograph of his first teacher, Karl Altenberg, smiling bravely in his hospital bed only weeks away from death. To the left of that image is the number 5 marked on the door, and slightly above and off to the left is a newspaper clipping trimmed with green at the top and bottom, the obituary of Norval Morrisseau.

“Do you miss him?”

“Ahh—I got him on my doorway. He’s right there.”

Alex Janvier

Alberta Views

December 2009

Love in Dreamland (2010) Ritchie Stardreamer Sinclair - Norval Morrisseau Authorization (1994)

Love in Dreamland

Ritchie Sinclair

acrylic on canvass, 30" x 66", 2010

The Marriage Ceremony Site

Muskoka, Ontario

This website is devoted to the authentic Norval Morrisseau however every once in a while, when it lifts up Spirit, I'm going to toot my own horn.

This painting entitled, "Love in Dreamland", was recently commissioned by a couple who will be wed this August 28, 2010 at their island paradise in Muskoka, Ontario. The couple happened upon my LoveofSpirit.com website and liked what they saw. They requested a piece like my 2008 Woodland landscape, "Watchers of the Dawn", deciding that this was the gift that they would give one another to commemorate their special day.

The act of fulfilling the visions hidden in the minds and hearts of those who commission an artwork is a Herculean task. It too is an "art". In this project the couple wanted the site of their wedding ceremony to be depicted in a Woodland style painting that includes twin birds which hold sentimental value to the couple. It also needed to be colour co-ordinated to their Markham, Ontario home. Art patrons put up a hefty deposit on commissions and then hope for the best. It requires more than a measure of trust on their part.

The pressure and restrictions of a commission can also stifle an artist. Fortunately, I have learned to trust Spirit to perfectly manifest a patron's vibrational need of the moment and guide my being accordingly. Spirit is always up to the challenge and patrons, including this couple, are always overjoyed with their commissions. Its a two way street; as one learns to trust Spirit, Spirit learns that one is trustworthy. Step by step one moves with Spirit into more significant and challenging opportunities to develop trust.

Shamanistic art, as taught by Norval Morrisseau, is an act of love and trust. It is Sacred. As he stated in 1981, "Shamanistic paintings are Amulets". They are genies in a bottle. Once set in motion they are conduits between Spirit, Soul and Body. To be an artist of this ilk is a response-ability, as well as a resting place. Of course, one need not be a fine artist to dance with Spirit.

Prior to the opening of my 1994 "The Art of Bridging" Exhibition I read Norval and Gabe Vadas my Artist Statement (below). Norval asked, "Who wrote that?" I said, " I did" He said, "Waaah...". He then grabbed a pen and wrote the authorization signed at the bottom of the Statement, which reads, " I Norval Morrisseau authorize Ritchie to teach and inspire children and people who Spirit heads in his direction".

The Art of Bridging - The Omega Centre - 1994

Artist Statement of Ritchie Sinclair

When Norval authorized me to teach and inspire children and people he also directed Spirit to send them my way. He knew before he ever wrote this authorization that I exemplified the role. He wrote it for others to read and to affirm the aforementioned Statement. I appreciate that he always respected my trust in Spirit. Norval knew Spirit, he knew me, and he knew what he was talking about.

Stardreamer

The Great Migration (1994) Norval Morrisseau

The Great Migration

Norval Morrisseau

1994, Acrylic on canvas, 48 x 96 inches (Diptych)

When the history of the twentieth century art in North America is written, no chapter will be more dramat­ic or significant than that of the Anishnabe painters, the aboriginal people of the Great Canadian Shield.

In the 1950's when it appeared that their culture was on the verge of being extinguished by the onslaught of the "white" civilization, there was a move by several individuals to preserve the ancient oral traditions by recording them in writing and in art. In so doing, the artist's developed a unique style, indigenous, distinctive, graphic, with a rare potential for narrative and an innate primitive beauty.

By the very act of depicting legends, the artists defied cen­turies of taboos, and many interesting sociological events followed: a shift in the roles of shaman /artist/ hunter occurred in the Anishnabe culture; the art became a seminal force in a revitalization movement; and the entire Ojibway Nation, a people heretofore overlooked by the mainstream of history, was thrust suddenly into the spot­light glare of an art-loving public."

Mary E. (Beth) Southcott

Author - The Sound of the Drum: : The Sacred Art of the Anishnabec

  

Traveling Sacred Bear With Inner Spirit (1994) Norval Morrisseau

Traveling Sacred Bear With Inner Spirit

Norval Morrisseau

Acrylic on canvas, 48 x 36, 1994

Visions of Ancient Ancestors (1994) Norval Morrisseau

Visions of Ancient Ancestors

Norval Morrisseau

1994, Acrylic on Canvas, 42 x 62

One may advocate for peace in many different ways as the faces of peace are as varied as the peoples of this earth. Some people use words, some political activism, some peaceful resistance, others work to broker peace or act as iconic images of the meaning of peace. Canada is very proud that native artist Norval Morrisseau took up paintbrushes to provide the world with colourful images depicting the importance of living at peace with oneself and nature. In addition to a significant oeuvre that sends strong messages of peace world wide, Mr. Morrisseau himself serves an an icon of peace.

Mr. Morrisseau is a model of hope and survival for indigenous peoples. He has instilled in them a sense of pride in their heritage and identity. He is the founder of a new artistic way of depicting native legends. A pioneer with his own works, he is the mentor to generations of new artists. Additionally, he has overcome great personal difficulties throughout his life and he bravely continues to face the challenges of ill health. His life is as inspirational as his art.

Mr. Morrisseau's art works hang in public places in Canada and world-wide. He has taken aboriginal art out of a narrow niche and made its powerful messages available to a broad and diverse audience, important messages that would get even more recognition with a Nobel Peace Prize.

Messages such as:

• We are connected to nature and to one another.
• We must live in harmony with nature and one another.
• We must be at peace with ourselves.

Norval Morrisseau's symbolic messages, colourfully rendered, are important not just for our time, but also for any time as he is building peace for himself, his people and for the world from the inside out. Pride in one’s heritage, identity and self will always be great starting points for establishing a peaceful world.

Angie Littlefield

In Honour to our Grandchildren (1994) Promoting the 2010 exhibition of Norval Morrisseau Art at the Thunder Bay Art Gallery.

Norval Morrisseau: From the Permanent Collection - The Thunder Bay Art Gallery - June 4 through September 5, 2010.

In Honour to our Grandchildren

Norval Morrisseau

1994, acrylic on canvas, 121 x 121 cm

purchased with the support of the
Canada Council for the Arts Acquisition Assistance Program.

For more information about the upcoming Norval Morrisseau exhibition view the Thunder Bay Art Gallery website or phone: 807-577-6427 - E-mail: info@theag.ca

Postal: P.O. Box 10193

1080 Keewatin Street
Thunder Bay, Ontario, CANADA P7B 6T7.

Read an article and view a before-&-after comparison of the Thunder Bay Art Gallery promotions for this exhibition.

Healing through Colour - Shaman Artist - Norval Morrisseau

Observations of the Astral World

Norval Morrisseau

c. 1994 - acrylic on canvas - 236 x 514 x 4 cm

Healing through Colour - Shaman Artist - Norval Morrisseau

I had the opportunity to visit the Norval Morrisseau art exhibit last week in Ottawa at the National Gallery of Canada. I was intrigued and inspired as I learned Norval’s story through his art. Last year I was introduced to Norval’s art while visiting a friend. The rich brilliant colours of his art captivated me. He paints with deep contrasting colours and thick lines, with each stroke telling a story about his Ojibway culture and his struggle to embrace his path.

Norval is a storyteller and Shaman. In his book "Return to the House of Invention" the artist talks about his intention of awakening people’s psychic ability through his painting. On his many shamanic journeys to the "House of Invention", he learned about the use of colour as a means of healing. Norval’s perception is that the world is a dark place and his art is an attempt to brighten up the world by expressing colour.

Recently while traveling I noticed in the airport that almost everyone in the section I was sitting in had on black. I was returning from a tropical place to mid-winter in Canada, however it felt like a rude awakening to the reality we live in. As I walked through the exhibit I noticed Norval’s paintings getting brighter and brighter, with more and more colour being expressed.

I was profoundly affected by Norval's story and his art. It captured my imagination, and I felt my soul touched by the rich contrasting colours that he uses. Norval is Canada's first native artist to share the beliefs, customs and rituals of his people (Ojibway). He was criticised by his own people for revealing this sacred information, however followed the guidance of his helping Spirits. His story is an example of the struggle of walking the 'razor's edge' that those walking a Shamanic path often encounter.

Martha

http://www.shamanismcanada.com/