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Sonny AssuLonging #22011
2011
About the Item
Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comical that my nation leased a plot of land, on un-ceded territory, to a company that exploits our resources to assemble log homes to be shipped off to the wealthy around the world.
While exploring the piles of discarded wood, I discovered a unique by-product of this industry: off-cuts that looked remarkably like pre-fabricated Northwest Coast masks. Left to be reclaimed by the earth or chipped up into cat litter, they are considered worthless by the developer and the consumer.
These “masks” have an inherent beauty: the poetics of a chainsaw paired with centuries-old growth rings reveal the wisdom of these once majestic cedar trees. Each one has a face and story within—and therefore also an inherent wealth. The felling of the rainforest enables us to display wealth in the form of luxury vacation homes, but we often give little thought to the waste produced by such affluence.
Historically, dominant cultures and ruling authorities have taken it upon themselves to preserve artifacts from perceived lesser societies, displaying the objects in galleries as a sign of their own wealth and authority. Today, we show our prosperity by accumulating posh, inanimate objects. And perhaps subconsciously we display the waste from this consumption (water bottles, disposable coffee cups, product packaging) as further markers of wealth.
Longing is my commentary on what these waste products could have been. The display of these discarded objects, using museum-quality mask mounts, assigns wealth in an artistic and anthropological sense. Through this work I challenge the institutions to collect remnants of our consumption culture.
Sonny Assu was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as you "everyday average suburban white-kid" it wasn't until he was eight years old that he discovered his Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point of his contemporary art practice.
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, settling in Surrey's Crescent Park. Having grown tired of the isolation of the area and the ridiculousness of the over-inflated housing market, Assu and his family moved "home" to unceded Liǥwildaʼx̱w territory (Campbell River, BC.).
Assu graduated from Emily Carr University (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 long-listed for the Sobey Art Award in 2012, 2013 and 2015.
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.
- Creator:Sonny Assu (1975, Canadian)
- Creation Year:2011
- Dimensions:Height: 19 in (48.26 cm)Width: 15 in (38.1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU4762028163
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.
About the Seller
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- ShippingRetrieving quote...Ships From: Montreal, Canada
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More From This SellerView All
- Longing #10By Sonny AssuLocated in Montreal, QuebecFour years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...Category
2010s Contemporary Figurative Photography
MaterialsArchival Pigment
- Longing #18By Sonny AssuLocated in Montreal, QuebecFour years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...Category
2010s Contemporary Figurative Photography
MaterialsArchival Pigment
- Longing #28By Sonny AssuLocated in Montreal, QuebecFour years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...Category
2010s Contemporary Figurative Photography
MaterialsArchival Pigment
- Longing #30By Sonny AssuLocated in Montreal, QuebecFour years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...Category
2010s Contemporary Figurative Photography
MaterialsArchival Pigment
- Longing #23By Sonny AssuLocated in Montreal, QuebecFour years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...Category
2010s Contemporary Figurative Photography
MaterialsArchival Pigment
- Longing #7By Sonny AssuLocated in Montreal, QuebecFour years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...Category
2010s Contemporary Figurative Photography
MaterialsArchival Pigment
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