Untitled (Floating Images)

Artist
Gender
Female
Style
Woodland
Community
Art Type
Painting
Collection
1980
Medium
Original acrylic painting on white canvas
Edition
Original Painting
Size (in)
Canvas (H x W x D): 34 x 32 x 1 | Frame: 41 ½ x 39 ½ x 1 ½ in
Size (cm)
Canvas (H x W x D): 86 x 81 x 2.5 cm | Frame: 105 x 100 x 4 cm
Framed
Framed
Product ID
13020-00358

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Description


Untitled (Floating Images) by Daphne Odjig 1989 – First Nations Woodland Art presented by DaVic Gallery of Native Canadian Arts

Please email us to inquire for price:  info@nativecanadianarts.com


Condition:       No condition to report.


Provenance:   Hampton Gallery, Kamloops, BC.  Private Collection, British Columbia


Description by Artist:     No description by the artist found.


Notes from DaVic Gallery:    By Daphne Odjig’s own admission, her primary way of expressing, communicating and relating her dreams, experiences and impressions was through her art. “Being self-taught, I find it difficult to intellectualize my work through words; my art is my primary statement,” she said.

While the use of black form lines and unblended colours in this work clearly represents the New Woodland style, the painting also reflects Odjig’s maturity as an artist with clear influences of European trends of the times, with Picasso being the most influential.

In this painting, we can see straight lines forming geometrical shapes that give us a sense of light and directionality. The use of curved lines and layered foreground gives the painting volume and depth. Odjig uses deep, earthly tones to depict both the foreground figures and the background images that signal open space and nature. The curved lines appear to depict nude female bodies, with only one fully outlined from the back.

This painting, as many others by Odjig, remains untitled. It seems there is not one person, including her family members, with an intimate enough knowledge of Odjig‘s works who could interpret the true meaning of each of the vast number of works that Odjig created. Perhaps the fact that she became more confident expressing her political views and emotions through her art, especially after she was commissioned by the National Museum of Man (Ottawa) to paint the historical mural, The Indian in Transition, could give us a glimpse into what she was trying to express with this painting. Still, without the artist herself providing insight into her motivation behind the painting, we are left interpreting it, relying on the limited information and understanding of the artist, the times in which she created the art and the influences she may have been exposed to. That is how this painting acquired its subtitle. After much contemplation, an associate of the art industry subtitled it Floating Images. Taking the painting in, we can see the appropriateness of the subtitle. But we are still left pondering what Daphne expressed with this dynamic composition, drawing from a well of memories and experiences of her rich life.