Pride and prejudice
The works of KC Adams
JASMIN PICHLYK
PHOTO: COURTESY OF KC ADAMS, GALLERY ONE ONE ONE
Racism is not an uncommon subject in art; it is, however, one that is often addressed with delicacy, especially when dealing with taboo, derogatory racist terms. It’s through these terms, and other race-specific interpretations, that Winnipeg artist KC Adams has created her own futuristic Cyborg Hybrids, simultaneously rendering racist remarks powerless whilst empowering the personas of her subjects. Adams’ show, which was curated by Cliff Eyland, runs until Oct. 13 at Gallery One One One.
Upon first inspection, the photographs displayed throughout the gallery appear pristine and glossy, as though the images themselves were photographed for a fashion magazine. The models strike different poses: some appear contemplative and serene, with their chins raised, gazing off into the distance; others are confident and determined, with a gaze that penetrates the viewer. Regardless, each of them conveys an air of defiance: proud, poised and secure.
The images seduce the viewer, and after admiring the gorgeous features, including the artificially darkened native skin, one’s eyes are pulled towards the small beaded letters delicately stitched on their shirts: “I’m not from India . . . Iroquois Scout . . . Mohawk Gas . . . Sniffer . . . Teepee Creeper . . . Token Indian . . . Authority on All Aboriginal Issues.” Forced to re-examine the works, one first realizes the harshness of the aboriginal stereotypes and, only after a moment’s reflection, begins to piece together the photograph with the caption, noticing the strong contradictions and questioning the clearly orchestrated, paradoxical images.
The works themselves are a manifestation of Adams’ frequent and unexpected encounters with racism after she moved away from Selkirk, Man. The project has undergone many transformations, continuing to expand as Adams sees fit.
Her models must meet specific criteria, which include artistic creativity, pride in their aboriginal heritage, and open-mindedness. In addition, each must be connected to technology in one form or another, whether through the use of e-mail, cell phones, laptops or IPods. It is this connection with technology that suggests the models’ cyborg nature. Once selected, the models don shirts emblazoned with whichever stereotype they desire and assume the air of confidence so intricately depicted in each photograph.
Adams has purposely decided to render the vulgarities in tiny white beads, a craft commonly associated with native peoples. A beaded choker is constructed for each model, a symbol also connected with aboriginals. The decision to use white t-shirts, along with white accessories, is meant to signify Adams’ and her models’ European descent (she uses the term euro-aboriginal). The recognition of her aboriginal background is a link to the past, while the cyborg references link to both the present and the future. Adams envisions this futuristic creature as being liberated from “isms” such as sexism and racism, with the ability to live harmoniously amongst one another, free from all negative criticism.
Although Adams has explanations for the various intricate layers of the pieces, the viewers themselves are what complete the images, as we bring with us our preconceived assumptions about what we feel defines racism. As empathetic creatures, viewers strive to comprehend what it feels like to be subjected to racial discrimination, but the reality is that a complete understanding is virtually impossible. We are left with only our speculations, be what they may. These photographs enable the viewer to engage with the subjects on a whole new level of understanding, with the darkly humorous, albeit uncomfortable, derogatory remarks on the shirts challenging us to associate the terms with the models.
KC Adams’ exhibit runs until Oct. 13 at Gallery One One One, located on the first floor of the FitzGerald Building. Adams has a concurrent solo show Transcendence — cyborg hybrida genitalis humanitas at the Art Gallery of Southwestern Manitoba in Brandon, which runs until Oct. 14.
