by Alberta Rose W.

When examining Indigenous art, it is essential to recognize the significance of perspective. In the context of the prevailing cultural framework shaped by settler colonialism, many individuals may unconsciously interpret art through the values and beliefs associated with that paradigm. However, it is important to acknowledge that, for thousands of years, the dominant culture in these lands has been rooted in the traditions of the original custodians, Indigenous peoples. Despite ongoing efforts to diminish our cultures, we actively preserve and revitalize them. Consequently, when engaging with our creations, it is crucial to understand that they embody our worldview and the distinct lens through which we perceive the world.

The practice and art of photography has existed for nearly 250 years, and throughout much of its history, it has served as a tool for colonialists to document and shape narratives that align with their perspectives. In North America, photography was utilized to “scientifically” and anthropologically document Black and Indigenous communities. In some instances, photographers staged “authentic” Indigenous scenes using models, props, and fabricated regalia to cater to the public’s desire to see what they considered the “real” Indigenous people, often for profit.

In recent years, the accessibility of photography has dramatically increased, with nearly everyone carrying a camera in their pocket daily. What was once a complex and valuable process has evolved into a means of instant gratification, enabling individuals to capture numerous images of pets, loved ones, or even meals.

This shift has empowered those who were previously regarded as mere “subjects” to reclaim control over their narratives and histories. Photography now serves as a medium to capture significant moments, portraits, and beautiful scenes. Additionally, as seen in this exhibition, it conveys deeper meanings, including feelings of returning to one’s homelands, celebrating cultural heritage, and critiquing the multi-billion dollar commodification of stolen lands stemming from colonial practices.

This Curatorial Essay is for the exhibition Through Their Lens: Indigenous Perspectives in Focus at Ociciwan Contemporary Art February 7 – April 19, 2025 curated by Alberta Rose W. and featuring works by Cora Kavyaktok, Seth Arcand, and Nahanni McKay.

Through Their Lens: Indigenous Perspectives in Focus features the work of three Indigenous Alberta-based artists who collectively examine the theme of Identity and Contemporary Life through their photographic work. Representing diverse communities, they explore their relationships with land, culture, heritage, and modernity. Each piece intricately combines traditional narratives with contemporary elements, highlighting the multifaceted nature of Indigenous identity in the present day.

Ociciwan Contemporary Art would like to acknowledge the support of the Canada Council for the Arts, Alberta Foundation for the Arts, and the Edmonton Arts Council.

Cora Kavyaktok is a photographer originally from Iqaluktuuttiaq (Cambridge Bay), NU and currently based in Vermilion, AB. Since 2009, Kavyaktok has been specializing in portraiture, event and wedding photography under the name Little Inuk Photography.

Kavyaktok primarily photographs women, finding empowerment through her lens-based practice and working with clients to bring out their self-confidence. She also works to capture Indigenous and Inuit celebrations as well as cultural activities. As she explains, “Photography has taken me on a journey and I have learned so much about myself, that I don’t think I would have come to realize if it weren’t for my craft.” Kavyaktok was the lead photographer of the Inuit Tattoo Revitalization Project, which was led by her long-time friend Hovak Johnston, this project aimed to bring about the cultural continuance of female Inuit tattooing. “When I look back through the photos, I see the reaction that the women have when they see their new facial tattoos [tunniit], and I can see their souls light up,” she explains. “The photography becomes part of the story.”

Kavyaktok’s work has been exhibited Internationally in Finland, Peru, Poland, and Montreal as well as a solo exhibit at the Vancouver Maritime Museum. Her work has also been published in multiple magazines including the Inuit Art Quarterly and Chatelaine Magazine. Her photography is featured heavily in the book Reawakening Our Ancestor’s Lines (2017), which documents the Inuit Tattoo Revitalization Project and the process of reclaiming a nearly lost art form.

Seth Arcand is a Cree filmmaker from the kipohtakaw Cree Nation (Alexander) in so-called Alberta. His interests lie in exploring Indigenous stories through film and photography. As a filmmaker, he hopes to open up more opportunity for other Indigenous filmmakers interested in the industry. This means creating spaces on the prairies where Indigenous filmmakers are comfortable and supported in taking risks, while challenging what is expected of Indigenous Creatives. Visiting and reciprocity are important aspects of his creative process. Seth recently completed a certificate in the Indigenous Digital Filmmaking Program at Capilano University, and was selected to participate in Write Over Here: Indigenous Screenwriting Residency 2025 at Banff Centre for  the Arts.

Still residing in kipohtakaw, Seth is connected to his community, and is still learning about his culture as he believes this is a lifelong process.

Nahanni McKay grew up on Treaty 7 Territory, developing an interest in art. She went to Emily Carr University of Art & Design. Since graduating from the Emily Carr University of Art and Design in 2017, Nahannis’ photographic work has been exhibited extensively across Canada and Europe. Recent exhibitions include Hole 8 at the European Cultural Centre, (Venice) and  Loop 14 was exhibited at the Contemporary Calgary as well as Art Toronto in 2020. McKay has received several awards including the Lieutenant Governor of Alberta Emerging Artist Award in 2022. The artist’s work is included in the permanent collection of the Alberta Foundation of the Arts. Nahanni has been selected for The Arctic Circle Residency and will be traveling to Svalbard, May 2025.

Alberta Rose W./Ingniq is an Inuvialuk artist, curator, and preparator based in the Treaty 7 region. She completed her preparatorial practicum at the Banff Centre for Arts and Creativity after obtaining her Bachelor of Fine Arts with distinction from the Alberta University of the Arts. With a mixed settler and Inuvialuit heritage, Alberta often creates works that explore her cultural identity and address broader social issues impacting Indigenous communities today. She has
participated in residencies at the Banff Centre, Contemporary Calgary, and the Calgary Central Library, and is a core member of the Ociciwan Contemporary Art Collective.