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Sonny AssuThe Treasury Edition: Spidey Spectacular #42019
2019
About the Item
As a kid, comic books were a form of entertainment and escape. The ideal of future monetary value in these objects was far from my kid mind. I'd crease the pages, handle the covers with Hawkins Cheezie encrusted fingers and had a carefree attitude towards dollops of fallen Miracle Whip from my bologna sandwiches. These books fuelled my imagination and spurred on my early creative pursuits. As I grew older, the importance of collecting started to take hold. No longer could I roll these things up and whack my cousins over the head or eat sloppily near the pulp pages. Once read, they were “bag-and-boarded” and placed in a Comic Saver long-box.
I recall, vividly, during what has become known in the comic industry as the “Speculator Boom” that the first issue of Marvel's X-Force was the talk of the comic collecting world. Issue #1 came pre-poly bagged with one of ten different trading cards. Which meant, if you wanted all 10 cards, you needed to buy ten copies of the same issue. I ended up buying 20 copies: one set to get all the cards and one set to remain sealed, "bag and boarded". When the “Ultra-Rare” second printing was released, I had to get that one too. In the end, I bought 21 of the same issue. I was led to believe that this $42 investment would pay out in the future. Turns out, most of the comics from the "Speculator Boom" era are fairly worthless.
As a painting and collage series, the Speculator Boom forms a deeper investigation of the importance of comic books in my life and in my work, which is not uncommon to my practice. The Challenging Tradition series (2001-2007), paired a specific moment in time when I uncovered my Ligwiłda’xw heritage. This series I melded pop and consumer iconography of that era with Kwakwa̱ka̱ʼwakw art, mythos and social structures.
While I naturally progressed away from that series, I've recently returned to an exploration of pop-culture as a way to not only express my identity as a purveyor of pop, a watcher of sci-fi, and a collector of nerdy things, but as a way to find a cathartic experience in the breaking of my childhood memorabilia. Through this, I’m finding a new understanding of the attribution wealth by the deconstruction of something sacred to create something new.
- Creator:Sonny Assu (1975, Canadian)
- Creation Year:2019
- Dimensions:Height: 22 in (55.88 cm)Width: 13.25 in (33.66 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU4765283292
Sonny Assu
Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn’t until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu’s artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver’s art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back “home” in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art in 2011 and was thrice long-listed for the Sobey Art Award. He received his MFA from Concordia University in 2017 and was one of the Laureates for the 2017 REVEAL – Indigenous Art Awards. His work has been accepted into the National Gallery of Canada, Seattle Art Museum, Vancouver Art Gallery, Museum of Anthropology at UBC, Burke Museum at the University of Washington, Art Gallery of Greater Victoria, Hydro Quebec, Lotto Quebec and in various other public and private collections across Canada, the United States and the UK.
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