sonnyassu.com - Body of Work - Contemporary Art

Current Projects	Previous Projects	Click +/- to expand
iDrums. [−]	Breakfast Series[−]
1884/1951[−]	Coke Salish[−]
iPotlatch/ iHamatsa[−]

iDrums

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About iDrums [−]

Sonny's iDrums challenge and resist the traditional frames and characterizations of western art and/or traditional Northwest Coast formline.
The drums are of particular significance to Sonny as they were the first objects he learned to make in a traditional manner.
In almost every way, the iDrums are difficult to classify – neither truly sculptural works, nor actual paintings, the drums include elements of both. In the end however, the strength of Sonny’s work lies in its ability to absorb and confront these labels and characterizations, and thus typify the atypical - the shifting reality of contemporary experience in the 21st century. Combining a pop art aesthetic with traditional Northwest Coast formline imagery, Sonny allows for a modern discourse for traditionally inspired iconography.

1884/1951

About 1884/1951 [−]

67 spun copper cups, grande size
2009
Image courtesy of the Vancouver Art Gallery.
Text courtesy of Sonny Assu and Kathleen Ritter.

1884/1951 is part of the exhibit "How Soon Is Now?" at the Vancouver Art Gallery.

Sonny Assu merges traditional North West Coast Aboriginal iconography with the aesthetics of popular culture. In the past, he has satirically "branded" Salmon Loops as a breakfast cereal and appropriated the Coca-Cola slogan to welcome people to Coast Salish Territory.

In 1884/1951, Assu has rendered 67 disposable coffee cups in copper referencing everyday objects that are given away during a potlatch. His use of copper refers specifically to its unique value to the Aboriginal people of the West Coast.

"Copper was a form of wealth for the First People of the West Coast. However the basis of wealth for the Aboriginal people was significantly different than what the European settlers were accustomed to. As a Western society, we horde to prove our wealth, keeping it for ourselves or buying objects that demonstrate our placement in society. The First Peoples of the Pacific North West (specifically those who practised the Potlatch) saw wealth in a dramatically different way; saving for years, hoarding wealth only to give away. It was that demonstration of giving that deemed you wealthy.

The status of wealth for a Chief was his copper shield; I've heard stories of Chiefs who felt they were so rich after a potlatch, that they destroyed parts of their Copper to prove it. Chief's would commonly one-up themselves by breaking off pieces of their copper and tossing them in the fire.

One story I heard gave rise and relevance to 1884/1951. It was a story of a Chief who felt he was so wealthy after a potlatch that he no want of anything. He proved his bravado by tossing his full copper in the fire.

I found it an interesting juxtaposition of culture, were we as a western society will happily spend $5 on a latte and walk around town displaying our wealth in these disposable cups, only to toss them away in an unconsoous act of proving ourselves."

With 67 cups in total, 1884/1951 presnets a cup for each year that the potlatch ceremonies were banned by Canadian law. The positioning of the cups started to play heavily on the meaning of the piece for him. The systematic discarded piling of the cups references the the act of the banning and our momentum toward become a disposable society.

"The Potlatch moved underground in those 67 years of the ban. But the will of the people remained strong, knowing it was their right to practice their beliefs. An Indian agent would be sent to confiscate all the regalia, materials and gifts to be given away during a Potlatch. Jailing the host and piling up the regalia and other materials to be given away. Taking photo's of confiscated wealth, like trophies, to be hoarded away in museums."

Breakfast Series

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Coke Salish