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In Mishibinijima’s Pictographs, smooth, quiet drawings serve as a reflection of place, not just of the wild geography of forest and rock of his native Wikwemikong First Nation on Manitoulin Island but also of the ancestral wisdom of the Elders, whose telling images remain graven into stone on the north shore of Lake Superior and at the burial sites of LaCloche Island.
Mishibinijima’s world is quiet, devoid of language—a world in which the artist listens to the fauna, in which pictographs articulate the essential interconnectedness of nature and in which images themselves become texts of dimly-remembered lessons recited by Elders long passed.
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