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

_____________________________________

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

***

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

_____________________

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.

________________________________

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

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.

_______________________

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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At the Nexus Art Gallery (1981) Norval Morrisseau

Norval Morrisseau

At the Nexus Art Gallery in 1981

I remember Norval asking me, "what do you want me to write?". I said, "I don't know, whatever you want to...". So he laughed and wrote, "To a great pal" and then signed it with flair.

Norval Morrisseau in his Studio in Toronto - 1979

The Nexus gallery was located on the East side of Church Street, near Queen St. in Toronto. This picture shows Norval at work in the basement at the "Nexus Studio" in 1979. The Nexus Gallery was upstairs, with a "production room" in the back, and further still, a table and office of sorts where the Volpe brothers would gather to sip coffee and talk real estate ("or so they told me"). Albert Volpe and his wife, Violette, were kind, soft-spoken people. Norval respected Albert and Violette immensely.

The Volpe period of Morrisseau art representation through Nexus Art was, in my opinion, a high point in Morrisseau's career. Jack Pollack longed for Norval to produce more traditional, subdued art to accommodate Jack's existing clients who were quite attached to Morrisseau's early era work. Jack wanted smaller, simpler pieces... and only originals. Norval wanted to explore and expand.

With Albert Volpe's business acumen (i.e. connections) and gentle manner, new doors of opportunity opened for Norval. His original paintings from this period are powerful, electrically charged pieces, often with profound subject matter. The mural, "A Separate Reality", found at Ottawa's Museum of Civilization is a prime example. Nexus Art also assisted in producing the Morrisseau "Four Seasons" limited edition plates and multiple handmade rag paper "limited edition" prints that are the absolute best in terms of quality.

Under the name, ALVO Indian Art (ALVO is an acronym for Albert Volpe) a well oiled and organized print production operation went into full swing. Most of the prints produced went to Europe however, along with a number of paintings on paper similar to the one pictured in this 1981 poster.

A "Nexus" is a place where it all comes together. A time when everything connects. Little did I know that I was witnessing a unique Nexus in art history. Underpinning the climax of the Pollock era and the emerging Volpe era was the founding of Norval's "Thunderbird School of Shamanistic Art", that I have been privileged and blessed to be a part of.

Film and articles portray Norval Morrisseau's "nebulous" 1980s as something of a disaster. Nine years without a solo show, trapped by mobster, Albert Volpe, living anywhere and everywhere on the streets, dusted in cocaine, desparately poor and lost to alcoholism. Are these stories true?

What a bizarre web we weave when our sordid fantasies of Morrisseau's woe in the gutters of life become "his stories"(history). Norval's 1980's history has been told by people that don't have a clue. His 1980s history is rife with embellishments and simplistic assumptions.

Morrisseau was his own man in the 1980s. He ran his show. Not Volpe, Pollock or anyone else. He stopped or started drinking at will. No institution came to his aid. His mission was as experiential as it was spiritual - and he knew it. To know Norval you had to know that he was on a mission for God. He believed it and he lived it. He was profoundly moral, though few may agree with me. He advocated against cocaine or any medically produced drug. In fact, he was an alternative health advocate well before it was fashionable.

Much of Morrisseau's history has been coloured by the story tellers themselves. I hear Pollock's, Helmy's, Lavack's, Nagy's and Volpe's history portrayed as if it were Norval's history. I see the myth of the powerless "Indian" played out as if it were Norval's personal story. He let them do it. What did he care? It was all just an illusion.

Yes, the 1980s is a nomadic period that has been difficult for the artworld to understand. Norval was a maestro of both his art and his life in the 1980s. The authentic story is far more interesting than the one they've been handing you. Morrisseau had a 1980's history. He just wasn't sharing it with a "dealer".

If anything I would call the 1980s "The Morrisseau Years". He owned them. Morrisseau's many masterpieces produced in the 1980s are an undeniable record attesting to it.

Stardreamer

Adapted from a 2009 article from

 Morrisseau.blogspot.com

Norval Morrisseau (1981) To be a Shaman

Answers within Questions...

• What is a Shaman?
• Why does a Shaman artist paint?
• What is Shamanistic Art?
• Why did Norval Morrisseau repudiate the Woodland School?

Below are passages from Scroll Two of the e-book, Woodland Gold, that consider certain possibilities. The fourth question is complex. Why do you think Norval Morrisseau repudiated the Woodland School? Was he justified?

When viewed as a personal or family talisman Shamanistic art empowers while it protects. Traditional pictographic art and birchbark scrolls are two-dimensional symbolic renderings that tell an archetypal story. A powerful alignment takes place in those who know how to interpret the colours and symbols in relation to one another. A vibrational sense of oneness with the archetype itself.

Shamanistic art is a creative response to a fundamental sentient need to maintain health and well-being. Through artistic expression, a Shaman calls into play the triple faculties of imagination, intuition and inspiration in order to commune with Spirit. The Great Spirit in turn extends to the tribe the power to consciously harmonize environmental forces. When appreciating Woodland Art in essence we join the tribe vibrationally, and through that connection discover the power within ourselves.

Shamanistic art primarily focuses on the relationship between the "Creator" and the "Created" using symbols to convey natural truths. Most artworks are two dimensional (pictographic) designs that one does not look into as one would a landscape. They are organic statements of inner harmony. Like ripples cast on still water, all symbols in a Woodland School painting have a relationship with one another.

The Woodland School taps into an instinctual wellspring of inspiration that requires no predisposed understanding to appreciate. Those who appreciate the warmth of pure colours will experience a sense of inner harmony and balance. Those with even a simple appreciation of the subject matter will enjoy a deeper respect for the ab'original' in all people. as well as for the creatures of the environment. To those who can fully interpret the relational symbology, an enhanced revelationary empowerment is received.

Stardreamer

Woodland Gold - Scroll Two

Copper Thunderbird - The Silver Curse (1969) Norval Morrisseau

The Silver Curse

Norval Morrisseau

1969

Norval and I come from Thunder Bay, Ontario. The "Bay" is actually formed by a natural rock peninsula in the shape of a giant sleeping person that juts out into Lake Superior. To the Anishnaabe the Sleeping Giant is Nanabijou, the legendary "Spirit of the Deep Sea Water" who out of love for the Ojibway gifted them with the location of the North's richest silver mine. Using their silver the Ojibway created beautiful ornaments and tools that made the people wealthy. Nanabijou told them to never reveal the location of the mine or Nanabijou himself would be turned to stone. As the story goes one night the secret was disclosed and the intruders along with those who revealed the secret were drowned in a fierce storm. When the storm finally ended Nanabijou had turned to stone and the "Sleeping Giant" we see today was left behind.

Hiding 15 miles behind the Sleeping Giant is the second largest island archipelago on the Great Lakes. Now it is called "Isle Royale". Before that it was known as "Copper Island". To the Ojibway it is "Minong" meaning, "a good place to live". Scientists have been exploring multiple, massive "native (pure) copper" mines on Ojibway land there. They have dated wood foundations in the mines to six thousand years ago. According to Morrisseau the Ojibway have been there for at least 12,000 years. In this place where trout, whitefish, sturgeon, herring, suckers, pike, woodland caribou, beaver and loons were plentiful was the world's richest treasury of pure copper. It was also the Island paradise of a shamanic brotherhood called the Midewiwin or Grand Medicine Society who organized to share and protect the medicinal and magical knowledge of the Anishnaabe.

I believe that the Nanabijou legend of the Sleeping Giant tells an insignificant story of secret silver mines in order to better hide the greater secrets of Copper Island.

The Sleeping Giant of Lake Kitchi-Gummi

Foreground, pure "native" copper from Copper Island

Copper Nugget weighing 5,720 pounds found at a depth of 16 1/2 feet

 in a pit dug by prehistoric Indians on Copper Island.

Notice multiple hammer marks.

The copper found around Lake Superior was the purest and most important copper found in the world and was exported to the Mexican Toltecs and civilisations further south.

Ojibway legends describe the mines as being worked by “light skinned men”, who were able to identify the mines by throwing magical stones on the ground, which made the ores that contained copper ring like a bell.

A 30 cm copper statue discovered in 1660 by a missionary, Allouez, depicts a man with a beard – the native Indians do not have beards. The Anishinaabe chiefs kept special o-za-wa-bik (copper medallions) in sacred Mide bundles that were handed down from generation to generation. Each time it was handed down a new notch was carved. “In this way records were kept of the generations of Ojibwe.

In the case of Lake Superior, powerful mythic underwater creatures or manitous were believed to control copper and other resources, including animals used for food, good weather for fishing, etc., which were dispensed or held back depending on immediate circumstances, those being the negotiated terms of exchange with humans. Power was also believed to reside in copper itself, according to the Ojibwa. Copper was powerful medicine that brought wealth, health and well-being

Copper Thunderbird, Grand Shaman of the Mide, loved to wear copper ornaments and bracelets and would often speak of copper's special healing properties. He understood its significance as he was one of a long line of guardians who have succeeded in preserving 60,000 years of human pre-history. Once every seven generations a Grand Shaman is born to reinvigorate the lineage, regenerate the people, renew the environment and record the sacred scrolls. The last Grand Shaman was Badasan who in 1825 passed on his scrolls stretched out on 17 feet of birchbark.

In 2007 Norval Morrisseau passed on a legacy of thousands of shamanistic images. To all of us he left the task of understanding his visions as magical blueprints and tools provided to guide and assist humanity in completing the circle and finding our way home.

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

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.

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

Norval Morrisseau at Work - 1979 - Alvo Art, Toronto

Morrisseau at work

 in his basement studio at Alvo Indian Art in 1979

where Stardreamer received his Indian name and began his apprenticeship.

"I was told by some relatives not to do this - that I should not be tampering with these forms, 'because the Indians will ostracize you'. Or the elders would not care for it, just like the Jesuits. Nevertheless I was determined to do it, for it is my destiny..."

Norval Morrisseau

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.