Indigenous Futurisms on Ledger, Part I

Over the past few months, K Art Gallery has been working closely with artists Henry Payer and Terran Last Gun – two magnificent artists reinvigorating ledger paper as a vehicle for Indigenous modernization – for the 2022 Art Toronto fair. Both artists will be presenting a series of original works. During this time, I have been fortunate to learn more about their processes, livelihoods, and ideas. For this month's blog, I spoke with Payer, a 2022 Joan Mitchell fellow, about what to expect in October. Next month, I'll speak with emerging Pikanii artist Terran Last Gun.

Henry Payer (Ho-Chunk, b. 1986) works primarily with collage and mixed media. He combines Indigenous cartographic methods with European modernist models of cubism and special distortion. Each work offers a visual narrative of symbols and appropriated voices from American consumer society that reconfigures historical references to the altered landscape or the identity of a portrait. Essentially, he questions our presumptions and challenges the dialogue of what is expected of Indigenous artists.

For Art Toronto, he's created original works exclusively on authentic ledger paper, a revived art form amongst contemporary artists. For Payer, however, the medium wasn't always his first choice. In fact, he was introduced to the antique paper and graphic arts genre from a pocketbook purchase in 2009. Even while earning his MFA at the University of Wisconsin, Madison, he still didn't focus on it.

"It wasn't until post-grad that I wanted to use it as a foundation.” This work references those created by imprisoned Native artists at Fort Marion, located in present-day Florida. It was there in the 19th century when the imprisoned were given ledger books and colored pencils to record their former lives along with rituals, ceremonies, and hunting/courting scenes. These also depicted the early stages of colonization, including the wagons, trains, and other foreign nuances.

"I wanted to specifically stay away from the Great Plains' 'ledger' style but keep the paper as the foundation which I build upon," he says. Payer purposely covers the ledger paper to highlight what is created and to differentiate his work from contemporary ledger artists. "I admire and respect their work and prefer not to 'step on any toes' in a style that isn't traditional to the Ho-Chunk people.

Frontline Aunty, 2022, Mixed Media and Collage on Ledger Paper, 19 x 16 in

Frontline Aunty leads Payer's five new works at the Canadian Art Fair and champions today's unsung heroes: Native women. The masculine warrior has long been the face of Indigenous cultures in mainstream media (i.e., The Last of the Mohicans, Edward Curtis photography, Old Westerns, etc.). Still, it is a tired trope that has not only been refuted but continuously neglected to empower the female counterpart. Most Indigenous cultures were matriarchal and matrilineal before European contact. But as Western values invaded the Homefront, patriarchal infrastructure and the "Man of the House" ideology would take its place. While the male warrior may carry some historical validity, the female lead now paves the way for various groups and communities – especially for the youth.

"I wanted to create a work that portrays this idea that allows the youth to see themselves represented for their strength."

Now, Aunty, a universal figure we all know and love, proudly roots herself before collaged pine needles as a demonstration of resistance. With a fist raised and a painted forehead, she wears a traditional multicolored ribbon skirt and a T-shirt that reads "Merciless Indian Savages," a direct quote from the Declaration of Independence. It also directly references a product created by Kiowa & Choctaw artist Steven Paul Judd in collaboration with The NTVS (The Natives), a Native-owned clothing brand established in 2014. "She wears both traditional moccasins and street shoes to literally express the act of walking in two worlds."

 I've been a fan of Henry Payer's work for quite some time now and have had the great pleasure of working with him during our Spring exhibition, Moving East. Art Toronto will showcase a familiar universe of characters that the Ho-Chunk artist knows all too well, like a drummer boy and gossiping mothers. The Fair will open from October 28th to the 30th at the Metro Toronto Convention Center, with special VIP access on the 27th.

For questions, please inquire at contact@thek.art.