Zhawenjigewin mazina’igan ndizhin-izha’amaas (Love Letter to Myself)

Jessie Jannuska

In my work I am exploring female Indigenous forms, investigating sexuality, female empowerment and Indigenous feminisms in order to take back control of our bodies. This is a way to move away from lateral violence caused by colonization and intergenerational trauma from Residential Schools. I hope to show a way to remove shame that was brought on from these institutions. I am also challenging the male gaze by using models that I know and creating community through the artwork.

To make this work I have used myself as a subject, as well as two models. Before I could ask other Indigenous women to pose nude for me, I felt I had to explore my own body in different forms of drawing and beading. This was a stepping-stone in gaining more of my own self confidence, a form of healing and appreciating my beauty in a mixed Dakota, Ojibway, and European female body. Once I felt more comfortable, I asked a friend and an acquaintance to model for me. I knew one of the models from my BFA and the other from beading.  My two models are both Anishinaabe of descent, with one being Two-Spirit/Indigiqueer. They both are strong, Indigenous role models in their communities. Using models allowed for me to explore and accurately portray a range of forms.

I have used many different media to investigate Indigenous feminisms and sexuality, including beading, acrylic paint, watercolor, pen and mixed media. The beadwork allows for me to connect traditionally with my Indigenous culture with its ten-thousand-year-old history on this land. Beading is malleable enough for me to use in a contemporary way by exploring themes like the body and feminism.  The mixed media works that feature drawing with pen and beadwork enable me to express the nudes with delicate linework while the beading lends a tactile quality. The unstretched canvas references colonial paintings but is being used in a raw way that reclaims power. The unfinished qualities of the work: the unfilled beading, raw canvas, frayed edges and unpainted wood board show process, mirroring the process of regaining control and self-efficacy. The use of velvet speaks to velvet beading traditions like that seen in historical tourist gifts, linking the work back to traditionally used Indigenous art materials. All the media employed to make these works are labor intensive but take a delicate hand.

Creating this exhibition has given me an outlet and allowed me to investigate Indigenous sexuality while avoiding the typical male colonial gaze that often falls on the nude Indigenous female form. I hope my art inspires Indigenous and non-Indigenous women alike to feel empowered to give respect and awe to their amazing bodies.