The Artistic Legacy of Norval Morrisseau In Action (2010)

Morrisseau Inspired Artists

Don Wright, Mark Anthony Jacobson, Brian Marion and Ritchie Sinclair

Winter Solstice Eclipse - December 21 2010

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Ritchie Sinclair (2008 - 2010) A Protege of Norval Morrisseau - Signs Off



" My eyes are now wide open and I see an overwhelming ever-growing body of evidence that tells me that I absolutely must do what I can to stop this. What I see are dangerous, dark pieces of art, that I for one would not hang above my bed and expect a good night's sleep."

Ritchie Stardreamer Sinclair

October 20 2008

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The defendant was referred to by counsel in their submissions both as Ritchie Sinclair and Stardreamer. The defendant describes himself as the "artistic apprentice" of Norval Morrisseau. Consistent with the allusion to which I have already referred, the defendant expresses a concern that: "Many of the works that are attributed to Norval Morrisseau however, are in fact counterfeit, and have been produced solely for the purposes of capitalizing off of Norval Morrisseau's fame and market value". It seems, from the record, that the defendant has made it his personal concern to identify, uncover, make known and even publicize works said to be those of Norval Morrisseau which he believes are false. In his affidavit, he says: I have no interest in identifying counterfeit Morrisseau paintings other than to perform a public service and to assist in protecting the legacy of one of Canada's foremost artists.

Lederer J.

Excerpt from the Judgment of December 8, 2008

Ontario Superior Court of Justice

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From October 2008 through November 2010 I published sensitive information about the proliferation of inferior counterfeit Morrisseau art. With the assistance of many (from all sides) who supplied materials, including Norval Morrisseau himself by way of his explosive sworn declarations, we painted a picture.

I have an undeniable faith in "truth" rising to the top. While identifying pieces in the forgery puzzle hasn't solved the problem I take comfort in knowing that the Norval Morrisseau forgery issue is the subject of a comprehensive R.C.M.P. investigation. I expect the very best from them.

The moment has finally arrived to turn my part in this effort over to Spirit and the Canadian authorities and turn my attention toward preparations for a spring exhibition of new art by myself and fellow Morrisseau protege, Brian Marion, to be held at the Lane Gallery in Yorkville.

Images of counterfeit Morrisseau art archived on Morrisseau.com will remain public to guide educators and students. Particularized information identifying forgers, distributors, suppliers and purported sources of fake Morrisseau art will be deleted from my websites. I feel compelled from within to do so.

I have developed a deep appreciation for our little circle of integrity and intent. Our shared desire for authenticity has rippled out to an ethical universe. We can expect results my friends.

May the Blessings Be

Ritchie Sinclair
November 10, 2010

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Norval Morrisseau (1979) Peace with the Sinclair Family

Peace with the Sinclair Family

- Norval Morrisseau with Ritchie Sinclair's Mother -

Christmas 1979
*

In 1979 Norval named me Stardreamer and I was hired to apprentice with him. From day one Norval was a trusted guide through the world of Spirit. He never let me down. He never took advantage of me, nor did I take advantage of him. Norval and I shared a passion for making art and exploring Spirit.

Norval wasn't old at 47. He perceived himself as a youthful brother - and as a mentor. In 1979 I was 22. Now I'm 53. I've had time to reflect on the mentors in my life. Elders pass on their truth. It is a rite of passage. To a Shaman artist what could be more natural than apprentices? We are talking about fine art and Shamanism. Vocations where hands-on apprenticeship is a must.

A Great Spirit

Ritchie Sinclair

60" x 252" on six panels, acrylic and copper on canvass, 2008

This great artist and this grand shaman in one chose me because I was already worthy. I knew Spirit and Art before I ever met him. I was utterly dedicated to both. Norval (and my family) knew it. As such, Norval and I shared a wonderful friendship over decades.

Norval and I painted a number of paintings together in 1979. We both signed this one and gave it to my youngest brother as a Christmas gift. Norval also gave each member of my family a buffalo-head nickel and sang Christmas carols at the piano with my Grandmothers deep into the night.

Christmas 1979 with the Sinclairs

Ritchie's mentor, Norval Morrisseau, his Aunt, Mother, his Mother's Mother

Middle - His Father's mother and his brothers
Front - Ritchie Sinclair and his dog.

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To my loved ones. I'm so grateful for having shared life with people who love and respect me. The very best to my Grandmothers, my Aunt and Norvy, who persist only in Spirit. In sweet memory, lovingly recorded, we keep their legacy's nearby, within our beating hearts.

Stardreamer

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

Norval Morrisseau's (1983) Androgyny and Prime Minister Stephen Harper

Prime Minister Stephen Harper stands in front of Norval Morrisseau's painting "Androgyny" during the start of the cabinet shuffle at Rideau Hall in Ottawa in October 2008. (Sean Kilpatrick/Canadian Press)

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Shaman with Medicine Powers (1978) Norval Morrisseau

Shaman with Medicine Powers

 - Norval Morrisseau -

acrylic on canvas, 1978, 71" x 41"

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(Portrait of Brian "Little Hummingbird" Marion)

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2009 Endorsement of Ritchie Sinclair

written by Brian Marion

Filed in Otario Superior Court - August 2010

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After the Bear Dance (1997) Norval Morrisseau

After the Beardance Ceremony

The MicMichael Canadian Collection - 1997

Norval Morrisseau performed a Beardance Initiation on Sept. 28 1997. It took place on the grounds of the McMichael Canadian Collection in Kleinberg, Ontario. Protege, Ritchie Stardreamer Sinclair and spiritual son, Gabe Weekan Vadas, took part. This film shares what transpired after the Beardance. The following passage describes this film and provides a transcript of Morrisseau's address to those present.

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Copper Thunderbird completes the sounding of the drum. Bear is laid to rest. Stardreamer expresses his appreciation to the Grand Shaman and returns the Kodiak Bearclaw that Copper Thunderbird presented to him when Stardreamer accepted Bear as his Shamanic guide seven years before.

Copper Thunderbird places his hand on Stardreamer's forehead to ordain him. He places the ceremonial headdress of the Grand Shaman on Stardreamer's head to empower him.

Assistant Shaman, Weekan, thanks Bear who is then placed at Morrisseau's feet. Morrisseau removes Weekan's Shamanic headdress and places it on Bear. He gifts Stardreamer's Bearclaw amulet to Weeken and then speaks to those gathered....

Thank You people

The Blessing is free. We won't charge you

We don't generally do this in public.

I am a Grand Shaman. This is like when the bishop comes to his chuirch and gathers his priests to ordain.... the ones that he is going to ordain.

He's a Shaman...
Mind you this guy's a Bear and we are going to ordain the Bear as well.

Our people a long time ago... had these types of ceremonies that weren't too public.

And the reason why they did it... it was an earth renewal ceremony. Everything renews itself because we are too polluted. Everything that we breath. Everything that we eat. The only thing I guess that's not polluted yet is our Spiritual environment. But it is our duty to maintain and keep that environment intact... if we ever get it polluted.

So each individual person that views the ceremony can interpret it in his own way...to give him an idea

Its the same thing as a person who goes to see a picture inside the art gallery. It is nice to sell those pictures, but yet the real purpose is for someone to look at the paintings.

I don't know how many of you people ever have Technicolor dreams but in that Technicolor world that we have inside each one of us... every time you look at my pictures or the colors,... the colors especially... not the images...it brings out that Indianess in you...

For we are only here to bring out more Indianness.

Norval Morrisseau

1997 Beardance Ceremony at the McMichael Canadian Collection

Don Robinson (2009) Examination for an Expert Report on a purported Norval Morrisseau painting

Don Robinson inspecting the discredited painting

At the Offices of Richard H. Baker - July 2009

 Photograph filed in the Superior Court of Ontario - August 2010

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Norval Morrisseau with Ritchie Sinclair (2006) On the opening night of Shaman Artist at the National Gallery of Canada

Norval Morrisseau with Ritchie Sinclair

At the National Gallery opening - 2006

Norval Morrisseau and Gabe Vadas (2006) at the National Gallery opening of Shaman Artist

Gabe Vadas and Norval Morrisseau

addressing those invited to the opening of Shaman Artist

at the National Gallery of Canada in 2006

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Collectors sue gallery over disputed painting

Morrisseau, maybe: Ottawa couple says uncertainty over authenticity of coveted artist's work may cost them dearly; gallery 'stands by the authenticity' of painting

The late Norval Morrisseau, Canada's most celebrated aboriginal artist, was known to be a great painter but a lousy speller. So Mr. and Mrs. Browne of Ottawa were not initially concerned when the Morrisseau painting they bought from Edmonton's Bearclaw Gallery in April 2007 arrived with the following title scrawled on the back: "Grandfather Speaks of Great Ansistrail Warrior."

The painting, supposedly done by Mr. Morrisseau in 1977, is generally known today at the Toronto court house and in various eyebrow-raising websites as Grandfather Speaks of Great Ancestral Warriors. Shortly after paying $25,000 for the 58-inch-by-61-inch neon-coloured painting, the Brownes uncovered some news far more troubling than a spelling mistake.

Mr. Morrisseau himself, according to documents filed in Ontario Superior Court, is alleged to have declared the painting a fake in 2006 in an e-mail to Heffel, an art auction house that was trying to sell Grandfather Speaks on behalf of the painting's then owner, Joseph Otavnik, an Oshawa art collector. These documents say that Heffel then withdrew the painting from the auction.

But is the painting really a fake?

Mr. Morrisseau's word back then, when he was seriously ill with Parkinson's disease, was not accepted as gospel by everyone. So maybe the painting is real, after all. It depends upon whom you want to believe.

The Brownes, who tell their story on a website they created, are not calling the painting a fake but they are concerned about the uncertainty over authenticity and have filed a suit in Ontario Superior Court in Toronto to recover the cost of the artwork from Bearclaw.

"The fact that the painting had been identified by Morrisseau himself as a fake and withdrawn from auction, served to destroy the ... value of the painting to the plaintiff and to any other subsequent purchases," says a statement of claim filed Jan. 15 by Mr. Browne in Ontario Superior Court.

The painting, Mr. Browne told the Citizen, represents "a huge investment for us and the loss of this investment has significant negative implications for us, wiping out a significant portion of our savings."

Bearclaw has yet to file a statement of defence. In an e-mail to the Citizen, Bearclaw director Jackie Bugera declined to comment on the case, except to say: "I remain very confident that we will be successful in defending this claim."

The problems swirling around the Brownes' painting are not unique in the multi-million-dollar Morrisseau art market. More than two years ago, the Norval Morrisseau Heritage Society, a group of six Morrisseau experts from such institutions as the National Gallery of Canada and Canadian Museum of Civilization, issued a statement warning the public about fake Morrisseaus for sale, especially on the Internet.

The exact number of true Morrisseau paintings and the quantity of fakes circulating is difficult to ascertain, at least in part because of the late artist's erratic life. He spent years as a street person, selling works privately rather than through galleries.

The Brownes' case is not the only one before Ontario Superior Court in Toronto. A defamation suit has been launched by five dealers in Morrisseau works against Ritchie "Stardreamer" Sinclair, a self-described Morrisseau "apprentice" who operates a website, www.morrisseau.com, in which more than 1,000 so-called Morrisseau paintings are labelled as fakes.

Some paintings that have appeared on Mr. Sinclair's website have, at times, been listed for sale by the dealers, including Bearclaw in Edmonton. In support of an affidavit filed Jan. 5 in Ontario Superior Court, Mr. Sinclair has filed with the court notarized statements by Mr. Morrisseau sent to four of the five dealers in the last few years of the artist's life listing specific fakes he said they were offering for sale.

The accuracy of Mr. Morrisseau's statements has not been tested in court nor has evidence been submitted to show how the galleries responded to Mr. Morrisseau's complaints. However, one of the five dealers, Joe McLeod of Maslak McLeod Gallery in Toronto, told the Citizen he withdrew from sale all the paintings questioned by Mr. Morrisseau.

The controversies over the Brownes' Grandfather Speaks began in 2006 when the painting, along with some other Morrisseaus owned by Mr. Otavnik, were listed for auction with Heffel.

According to Mr. Sinclair's Jan. 5 affidavit, Mr. Morrisseau and Gabe Vadas, the artist's "adopted" son and business partner, sent an e-mail Sept. 12, 2006 to Heffel declaring the works to be fakes. The affidavit says Heffel subsequently withdrew the art from the auction. The affidavit also says Mr. Otavnik later placed Grandfather Speaks with Bearclaw Gallery. The Brownes saw the painting on Bearclaw's website and bought it. "We were struck by it," said Mr. Browne in an interview.

Bearclaw is an established Edmonton gallery selling First Nations works since 1975. The gallery's roster of stars includes some of the biggest names in aboriginal art, including Daphne Odjig, Alex Janvier and Jane Ash Poitras.

Ms. Bugera has declined to be interviewed. However, before the launch of the Brownes' suit, Ms. Bugera e-mailed a statement to the Citizen in which she said the gallery "stands by the authenticity" of Grandfather Speaks and another Morrisseau painting Mr. Browne and his wife, also known as Julie Witmer, bought there. Both husband and wife hold PhDs and operate an Ottawa consulting business.

"Over the course of selling Norval Morrisseau works over the past 30 years, Drs. Browne and Witmer are the first customers who have ever questioned the authenticity and provenance of our paintings," Ms. Bugera wrote. "As with any other customer, Bearclaw Gallery has treated Drs. Browne and Witmer in a manner not inconsistent with the standards expected of any other fine art gallery in Alberta."

Ms. Bugera said the gallery was initially prepared to exchange Grandfather Speaks upon learning of the Brownes "specific reservations." That position changed after "the great lengths" the Brownes took to express their "dissatisfaction." The prospect of any "exchange or refund" was removed from the table. After the Brownes launched the suit against Bearclaw, Ms. Bugera said she could not comment on a matter before the courts.

The Brownes say they have been unable to find anyone, including art galleries specializing in Morrisseau works or experts at the Norval Morrisseau Heritage Society, willing to sign a document saying the painting is real or a forgery.

The heritage society is trying to assemble a list, or catalogue raisonne, of all true Morrisseau works. In the meantime, the group is refusing, publicly at least, to label what is real and what is fake.

In an interview with the Citizen earlier this month, Mr. Otavnik said he had offered to refund the Brownes their money for Grandfather Speaks. But there was a condition.

"They told me that members of the Norval Morrisseau Heritage Society called it a fake," Mr. Otavnik said. "I said, 'Perfect; put that in writing and I'll refund your money.' They never did."

The Brownes produced no statement in writing from experts, says Mr. Otavnik, "because I could sue those people."

Mr. Otavnik does not accept the statement from Mr. Vadas and Mr. Morrisseau that the painting is a fake. Some people, Mr. Otavnik says, are declaring painting fakes as a way of "controlling the market."

Reached by telephone at his home in Nanaimo, B.C., Mr. Vadas refused to comment on any aspects of the Morrisseau controversies saying he did not want to unleash more "harassment" against him. Mr. Vadas did invite the Citizen to send him written questions. That was done. But, in an e-mail, he declined to answer any of them.

Authenticating Morrisseau paintings has been complicated by the fact the Art Dealers Association of Canada issued a notice March 13, 2007 saying its members would no longer issue "certificates of authenticity" of the artist's paintings and that the Norval Morrisseau Heritage Society is "the sole authority for the authentication of works by Norval Morrisseau." But the society won't issue signed statements either.

So, where are the alleged fakes coming from? Various prominent figures in the Morrisseau art market accuse each other of involvement in the production of forgeries. Then, there are the seemingly wild accusations that organized crime is churning out Morrisseau fakes from "factories" in Thunder Bay, that these "artists" are being paid in illegal drugs and that money-laundering is involved.

The Brownes say they went to the Ottawa police in November with their concerns over the authenticity of Grandfather Speaks and were told not to expect any feedback for three months.

Lawsuits and inflammatory websites abound in the Morrisseau art market. Mr. Otavnik, for example, won an out-of-court settlement against Mr. Vadas for $11,000 after the Heffel intervention in 2006. The settlement, which did not involve the painting eventually purchased by the Brownes, has been interpreted in vastly different ways by the parties involved.

Mr. Otavnik's conversation with the Citizen was peppered with insults directed at many prominent players in the Morrisseau drama. Some of his harshest criticism was directed at the Brownes. He is also no fan of Mr. Sinclair and has launched a suit in Small Claims Court in Whitby seeking damages that he says Mr. Sinclair's website and Kinsman Robinson Gallery in Toronto have done to his business.

Mr. Otavnik is not part of the much larger defamation suit by the five art dealers against Mr. Sinclair, who claims to have worked with Mr. Morrisseau for several years before the artist's death Dec. 4, 2007. However, all five art dealers, in affidavits filed in court, say Mr. Otavnik was the person who first notified them of Mr. Sinclair's website.

A statement of claim filed Dec. 17 in Ontario Superior Court in Toronto by the dealers says Mr. Sinclair's website is "causing real and substantial harm" to their businesses by scaring off customers. The dealers include Joseph McLeod of Maslak McLeod Gallery in Toronto, James White of White Distribution Ltd. of Caledon, Ont., Donna Child of Artworld of Sherway Gallery in Toronto, Sun Nam Kim of Gallery Sunami in Toronto and Jackie Bugera of Bearclaw in Edmonton.

"Sinclair's actions against the plaintiffs have been reckless, vindictive and malicious," the statement of claim says. "Sinclair has made no attempt to examine the paintings in question or to review the plaintiffs' evidence of the authenticity of the paintings. Instead, he has recklessly made bald allegations of fraud based solely on viewing images of the paintings displayed on the Internet. Sinclair has either knowingly posted falsehoods or he has shown a reckless disregard for the truth of his allegations."

The dealers' accusations have not been proven in court and Mr. Sinclair has yet to file a statement of defence. However, in the Jan. 5 affidavit he filed with Ontario Superior Court, Mr. Sinclair discussed his years of working with Mr. Morrisseau in various locations, studying the style and content of his paintings.

"Because of the fact that I am one of the very few people who have worked alongside Norval Morrisseau and I have been trained by him, I am in a unique position to be able to identify methods and aspects of paintings that have been attributed to Norval Morrisseau in order to assess whether they are genuine or not," the affidavit says. "I know things about his brush strokes, his use and choice of paint, his creation of lines, his selection of subject matter and his basic methods, which all serve to distinguish genuine Morrisseau paintings from counterfeits."

Justice Thomas Lederer issued an interim ruling Dec. 8 on the art dealers' request to "close down" Mr. Sinclair`s website. The judge said the website could remain in operation, at least for now, but warnings had to be posted on the site saying that the opinions were solely those of Mr. Sinclair and are the subject of a defamation suit. Mr. Sinclair has complied with that order. The case is scheduled to resume March 17.

Meanwhile, the Brownes' website also contains an image of another supposed Morrisseau painting, Bear and Berries, the couple also bought from Bearclaw. Their research has led them to wonder about the authenticity of that painting as well. Details surrounding Bear and Berries have yet to be posted on the Brownes' website. But stay tuned. This story is far from over.

Paul Gissell

The Ottawa Citizen

January 22, 2009

At the McMichael Collection (1997) Norval Morrisseau

Norval Morrisseau at the McMichael Collection

Norval Morrisseau explores an exhibition in his honour accompanied by Ritchie Sinclair, Robert and Signe McMichael, Don Robinson, Gabe Vadas and others at the McMichael Canadian Collection on Sept. 28 1997. Outside on the grounds of the McMichael Canadian Collection Sinclair, Vadas and Morrisseau prepare for the Ceremony. Norval Morrisseau introduces the Bear Dance Shamanic Initiation ceremony that he intends to preform.

What we are about to do is an ancient Indian Bear Ceremony...an earth renewal ceremony. The Grand Shaman is now in...This is a secret society eh...We are allowing who is ever around looking... to look. Now what we are going to do is the Shaman...the Grand Shaman...with his assistant Shaman is bringing the Bear...who is the Initiate...He's not a human...he's a Bear. It won't be too long or too short....So be it

Norval Morrisseau

1997

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The McMichael Collection was begun in the 1950's when Signe and Robert McMichael bought their first painting by a member of the group, Lawren Harris's ''Montreal River, Algoma.'' Mr. McMichael was a young Toronto businessman, and it took them five months to pay off the painting at $50 a month. The McMichaels began collecting seriously as they prospered; they built a log and stone house to live in, and hung the art there. In 1965 the McMichaels gave the province of Ontario their house, land and collection that then numbered about 175 paintings.

The province has expanded both the collection and the building. There are now about 20 paintings by Emily Carr, a West Coast artist (1871-1945) who painted in the group's tradition and was influenced by them. Like Harris, she painted to capture the spirit in the land, and her paintings in the collection bear an uncanny resemblance to his, in their mystical portrayal of nature. Carr was inspired by the Indians of the north Pacific Coast; in keeping with that link the collection now includes a small but fine selection of Northwest Coast Indian masks and a tall totem pole.

In northern Ontario a new kind of painting developed: Woodland Indian painting, which was fathered by the Ojibwa Norval Morrisseau, is the contemporary Indian answer to the pictographic tradition of their ancestors. This new style of painting uses flat, brightly colored shapes outlined in bold black lines to portray apparently transparent beings whose history and relationships are made clear through what's inside them or connected to them by the bold black lines.

In the big room that was the McMichaels' living room A. Y. Jackson used to sit and sketch by the window. He lived there from 1968 until 1974; the room that is now the little theater was his swimming pool. He was artist in residence and he brought to the McMichael Collection the spirit it deserved, the vision of the northern light.

Excerpt from "Painting the Wilderness"

by Joanne Ketes

NY Times

December 14, 1986

Sounding (1979) Norval Morrisseau & Ritchie Sinclair - Hon. David C. Onley Message (2007)

I was saddened to learn of the death on December 4th of First Nations artist, shaman, and storyteller, Norval Morrisseau.

His paintings exploded onto the Canadian art scene in the early 1960s, blazing a trail for other indigenous artists and sculptors. Although he was self-taught, his blending of Ojibwa and European influences that became known as the Woodland School of native art, placed him among the first rank of artists. He later repudiated Woodland as a media construct, and formed his own Thunderbird School of Shamanistic Arts, developing the exuberant, neon-like brilliance of colour that was to become his hallmark.

Throughout his life, Mr. Morrisseau fought and conquered many demons, and became a role model for young aboriginal people. His courageous struggle against Parkinson’s Disease in latter years was an inspiring testimony to the ability of the human spirit.

I join all Ontarians in mourning the passing of a Canadian icon.

The Honourable Davd C. Onley

2007

Sounding

Norval Morrisseau and Ritchie Sinclair

1979, 36" x 48", acrylic on canvass

This painting was created by Norval Morrisseau and myself in 1979 and signed by both of us before it was given away as a gift. It is an example of the exploratory nature of "Thunderbird School Art". Members of Toronto's Eckankar community utilized this painting as a vehicle to focus their sounding of the Hu at meditation gatherings held in Vandorf, Ontario

Stardreamer

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

Norval Viewing Duality (1979 ) Norval Morrisseau

Norval Viewing Duality

Norval Morrisseau

1979, acrylic on canvas, est. 58" x 116"

I am intelligent, I understand how the Christian religion came to be on the other hand I know about my ancestral beliefs, their rights and wrongs, and I respect both teachings as sacred. I understand the loss I would have if I forsook my Indian religion for another and I serve both.

Norval Morrisseau

I had the profound experience of witnessing this powerhouse of a painting come into being. The raw power that eminates from this piece make it exceptional. Fine quality LE prints were produced that vainly attempt to do justice to this massive dynamo, but ultimately fail. When it comes to Shamanistic art ...size matters.

Stardreamer

Just for fun - (1980) - Norval Morrisseau to Ritchie Sinclair - Mountain Goat Communicators

Norval Morrisseau

1980

Just for fun...I went for an adventure to the West coast in the Summer of 1980 and came back with a writing/drawing book that I showed Norval. He scribbled this picture in it on Sept. 20 1980 while I told him of my adventures. In those days I was the one always tripping out West because I was in Love with a girl from the Yukon. Of course, Norval said that he already knew what I was up to because he had been astrally speaking with me, thus the communication lines between the goats. In picturing goats "Norvy" was playing with the fact that I was born a Capricorn.

Ritchie Sinclair

"A Separate Reality" (1984) Norval Morriseau

"So if I am here in this World to deliver any messages I wouldn't want to be a preacher...I would want to be a painter!"

Norval Morrisseau

1981

"A Separate Reality"

Norval Morrisseau

1984 - Acrylic on canvas, approx. 10' x 21'

In this 1981 video Norval Morrisseau interprets symbology from the magnificent mural, "A Separate Reality", which is permanently displayed in the Museum of Civilization in Ottawa, Ontario, Canada

I had the privilege of assisting Norval in creating the background to this painting. It was very unusual to get a 10 foot high roll of canvass, so this painting was always special. This roll was picked up in the States by Paul Gwartzman (of Gwartzman's Art Supplies, Toronto). Paul was always looking for something special for Norval. They appreciated each other for decades as "professionals".

To paint the wash background we laid out the canvass on the grass outside Norval's Buckhorn studio/farmhouse/bat cave (another story). Norval directed action on a blistering hot summer's day from the second floor balcony while I used two feet, two hands, large brushes and tons of paint to create the Astral Universe. Acrylic paint is mud. It doesn't go far. If diluted it loses its pigmentation. Its better to get it in there, let it stain the canvass, and get rid of the excess. It was great fun. By the time Norval was happy with it the background was heavy laden in paint.

We left if outside for a week or more to dry..., through rain, wind and storm, ...until the next blistering hot day dried it out, leaving what still shines through today.

Ritchie Sinclair

Shaman's Apprentice (1980) - Shaman's Apprentice Visionary (1981) by Norval Morrisseau

Shaman's Apprentice Visionary

Print Version (1981) 22" x 30" - from the original painting - 8' x 5' (1980)

Norval Morrisseau

The authentic Morrisseau painting is entitled, “Shaman’s Apprentice”. This portrait was painted by Morrisseau to honour Stardreamer who painted the blue background wash on the original that Norval filled with Stars and Thunderbirds.

My so-called Indian followers haven't reached a stage yet where they know what colour is. They think its nice to see Norval putting on colour but do they know what those colours mean?

One day you go up into a separate reality and you see what sickness is. Its a mental disease that makes us forget what the hell we really are - that's the sickness that has happened. There is a big crystal that is the most modern medicine - a circle of colours that directs a different colour to each spot of disease.

Norval Morrisseau
1984 NOW magazine

View a comparison of this painting with one created by someone who used the poster as a guide.

The painting itself is approximately 8ft x 5ft. It was painted in 1980 and then printed by Albert Volpe of Alvo Art in 1981 on approx. 22" x 30" heavy gauge hand-made rag paper using a revolutionary printing technique. The limited edition print is entitled,“Shaman’s Apprentice Visionary”.

The prints from this collection and the original paintings from this period ended up, for the most part, in Europe.

A poster promoting the “Sylvan Image Collection” at Ontario Place in Toronto from May 10 to June 2, 1984, was published soon after his major group Exhibition, "Norval Morrisseau and the Emergence of the Image Makers" was held at the Art Gallery of Ontario.

Sunny Bunny (2010) Ritchie Sinclair - Rabbits (1985) Norval Morrisseau

Sunny Bunny a.k.a. Ritchie the Rabbit

Ritchie Sinclair

30" x 48" - acrylic on canvass - Easter 2010

Woodland Gold is essentially "paper money" and a "true" global currency. It is also a divine form of alchemy that allows any practitioner of the school, at any time, to produce "true" (Woodland) gold. They have only to be convinced of the sacred cause of their moment in the sun when they are called to respond with impeccable skill under the direction of Spirit. To Spirit they are responsive. In Morrisseau, they see the example, and are convinced.

Ritchie Sinclair

©1999 Woodland Gold

Untitled
Norval Morrisseau
acrylic on canvass - 36" x 48" - Easter 1985

In 1985 Norval asked me to "challenge him". i.e give him a few ideas to spark his imagination. I suggested that he paint some Rabbits. He went to town on rabbit paintings. He had great fun with this painting and loved the idea that he had dressed up this rabbit in Levis. He even did the logo on the pocket and then omitted it. As you can see from the Sun they were happy times.

Norval Morrisseau - Stained Glass Effect - An interpretation by Stardreamer

Stained Glass Effect
Norval Morrisseau
Acrylic on Canvass - 1989

This painting was one of a number that were painted in 1989 soon after Morrisseau returned from his exhibit at the Centre Georges Pompidou in Paris as part of the French Revolution Bicentennial celebrations. Morrisseau has titled it on the back in pencil.

Interpretation

Stained Glass Effect is a totem of empowerment.

Morrisseau is a member of the Bear Clan and a Grand Shaman of the Medicine Society which is traditionally guarded by four Medicine Bears. This painting depicts the Great Medicine Bear. In this painting Morrisseau depicts man as "God".

As a talisman this painting provides protection, good health, harmony and peace in accordance with the axiom, "as it is above, so it is below".

Morrisseau sets "white" into all "three" eyes to reveal that this bear is a "Spirit Bear", increasing its Shamanic significance. Spirit Bears are the legendary "albino" bear found only in British Columbia, where this painting was created. White, in any Morrisseau bear represents "good medicine" (i.e. White Magic).

This medicine is powerful because whenever a Spirit Bear appears the Anishnaabe are given a profound remembrance from their Creator. A reminder of their magnificent home from long ago that has been encoded into tribal memory. A place we named "Antarctica" and formerly called "Atlantis".

Spirit Bear, in three-fold stance, symbolically depicts the Anishnaabe constellation of Orion. To Morrisseau, as it is with the Aboriginals of the Southern Hemisphere, Orion a.k.a. "Bear" symbolizes the prehistoric source of all humanity. They believe that we are sourced to a planet that revolves around a star we called "Sirius". In this painting, the three brightest stars of Orion’s Belt are represented as the three white eyes of Bear.

This bear generates power.

The West side of this painting represents the past. The East represents the future.
The blue sky above represents the heavenly and the green below, the earthly.
The pink bar which crosses the breadth of the painting symbolizes society, humanity, conformity, horizontal life and the fragility of flesh (i.e. mortality).

The obelisk, rod of power or erect penis, is a primary aboriginal symbol depicting Shamanic power and the perpetuating life force. Its significant size and status in tandem with it facing North-East shows that Bear will ecstatically power up one’s future.

The bright orange pack on the back of Bear is his medicine pouch, traditionally placed on his back by South American Shamans and Morrisseau, in perfect accordance to the formation of the Orion Constellation’s secondary stars.

The deep red power point to the South-West of the artwork symbolizes the generation of earthly power from the deep past. The emanating lines from this "balanced" and therefore energizing power point show this earthly power circulating into Bear yet from humanity.

Bear’s legs and paws show us that he is driven through physical life to deliver "blueprint seeds" (or gifts) depicted as blue dots.

An Emanating line of power emerges from the hind leg of Bear. Five blue dots in this, the most "physical" of his appendages, show us that Bear lives life as a physical man. The emerging line of power shows that Bear contributes to the development of civilization.

Bear’s middle leg and paw display six "blueprint" dots which symbolize the realized ideal of a good life. Fruitful seeds of emotional life have been planted and grown. They have emerged through society and beyond into a higher place of peace and harmony.

Rising out of a deep purple which symbolizes ancient instincts Bear’s penis lifts emotional energy. Sexual power is impeccably balanced and expressed in the clear light of day as an act of God. Bear lifts and circulates energy.

Bear’s forepaw depicts Bear’s mind. It is a universal reflection of the five blueprint dots shown on Bear’s hind leg and paw. As it is above so it is below. It is the mind of a man.

The foreleg is painted differently than the other legs. It appears as a deep purple stroked with "Mayan" green, symbolizing knowledge of an ancient past.

The source or "soul vessel" who carries this ancient knowledge is grafted into the spirit of Bear depicted as the Shaman of the North-West. His ear adornments make it clear that he is the source of these "blueprints" which Bear brings to life. The Shaman’s turban shows us that he is the source of this knowledge which has "mushroomed" into being. It is Bear’s inheritance of inherent gifts from the past.

The Spiritual man, depicted as the North-East man, is the viewer experiencing this awesome power of God as a divine awakening.

Five green wheels of life and power circulate in perfect balance creating an energy path.

An emanating line of power emerges from the light purple of higher spiritual insight where its power modifies Bear’s instincts as it drives through Bear’s penis, transforming life into love, awakening mind and giving Bear the gift of voice.

Bear needs only use his tongue so that the upper and lower jaws are connected as one. Then the power once given will be returned. The circle fulfilled. The past with be joined to the future to create the eternal now.

The pink nose of this Sacred Bear symbolizes a complete Soul. This is a being blessed with the power of the tongue, peace of "high-bernation" and place of Kundalini release.

>>>>>>> Stardreamer

Little Bear of Orion with Medicine Pack

The Grand Sham

Pen & Ink on acrylic washed archival paper- 22" x 48"
Ritchie Sinclair (Stardreamer) - 2008
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Commissioned by a Morrisseau art collector who asked for a Pen & Ink that told "the story" of the moment.