Ełexiìtǫ ; Ehts’ǫǫ̀ / Connected ; Apart From Each Other

Ełexiìtǫ ; Ehts’ǫǫ̀ / Connected ; Apart From Each Other - 2021

“Ełexiìtǫ ; Ehts’ǫǫ̀“ is an installation that communicates the journey of learning more about one’s culture through distance education and research; utilizing and adapting to work with technology and communication tools as viable resources for learning language, tradition, stories, and spiritual beliefs.

After leaving my hometown of Yellowknife when I was seven years old, a disconnect of my culture started to form; I lived all over Western Canada and even though I have met some amazing people and experienced many things, I was away from my people and language. Throughout my life there have been times where I would return to the Northwest Territories and slowly learn more about who we are as Dene people and our specific practices, songs, and beliefs, but those instances were far and between. Within my early adulthood I felt the obligation and importance of learning as much of my culture as possible by using the knowledge I have acquired and the technology that I enjoy working with.

The hanging logs mimic the power of nature and the relationship that we all have with the land. The resonance of sound and song from within the logs emphasize the steps towards finding the connection to culture. The multi-channel Dene drum, electronic instruments, guitar and chanting occupies the space and flows throughout the logs in various patterns. The experimental visuals with the Dene Laws converted to binary code reference the exploration of this digital path motivated by a thirst for knowledge, personal reflection and understanding of cultural identity.

“Sadzeè ; Time”

“Sadzeè ; Time” - 2020"Sadzee ; Time" is an interactive multimedia installation that is inspired by, and challenges, our perception of time. As humans we perceive time in a certain way, whereas it is said that some animals, such as cats and sparrows…

“Sadzeè ; Time” - 2020

"Sadzee ; Time" is an interactive multimedia installation that is inspired by, and challenges, our perception of time. As humans we perceive time in a certain way, whereas it is said that some animals, such as cats and sparrows, experience time differently than we do, which enables them to navigate their surroundings with precision and grace; this work explores those variations within our planet and the greater universe.

Interactivity for the installation is triggered by distance and proximity to the main sculptural element that reaches to the floor. The sun and moon brighten and dim to communicate the lunar cycles on earth as they change colour and appearance. The audio soundtrack transposition is affected by presence and location, and was constructed with various vocal tones and harmonizations to represent the "Voice" theme of Send+Receive v22.

The soundscape construction has many octave channels embedded in order to reflect numerous stages of balance and stability regardless of distance and viewing location; that there are many ways to experience time. When two people are present on opposite sides of the installation there is a duality aspect that presents itself; you are present as you view the lunar cycles and hear the sounds while at the same time reflecting on the time and experiences that you have spent with the person on the other side.

The material that is gesturally placed upwards off of the base symbolizes the fragmentation of time; time that cannot be recalled due to memory loss, traumatic experiences, mental health, or blocked by preference. Regardless of fragmentation, our lives continue to root into memory and solidify our existence by occupying space as the material reaches for the ceiling and surrounding walls.

“Godoò ; Our Blood”

“Godoò ; Our Blood” - 2020“Godoò ; Our Blood” is an installation that communicates the inequalities that indigenous people have endured throughout history, and is intended to raise awareness and to employ equal rights, compassion, and understan…

“Godoò ; Our Blood” - 2020

“Godoò ; Our Blood” is an installation that communicates the inequalities that indigenous people have endured throughout history, and is intended to raise awareness and to employ equal rights, compassion, and understanding of our cultures.

The red braids symbolize the colonial resistance of our people against oppressive government and society; the hair that has been cut from the implementation of the Residential School system in Canada, and as a representation of missing and murdered indigenous women, girls, boys, men, and two spirit people (MMIWGBM2S).

The willow used to create the braids have been harvested from Winnipeg’s inner city. They have first been painted white to communicate whitewashing and segregation, then painted red to communicate the reclamation of culture, transfer of knowledge from elders to youth, and awakening of traditional beliefs and way of life; to respect the land, air, water, each other, and the creator in all of its forms.

The drone footage projected from the ceiling through the braids and onto the ground communicates the ongoing search for our people that are still missing; spanning across numerous colourless landscapes and areas as a metaphor for our regional representation, and our connection to the land that has been hindered due to the continued injustices of our country.

The soundscape that subtly occupies the room is an ambient Dene drum beat infused with effects to give it a distant, sombre feel, and also present to solidify our existence.

“Emotive Ascension”

"Emotive Ascension" - 2013

2013 BFA Grad Exhibition - Thompson Rivers University - Kamloops, BC.

The installation is a representation of nature re-claiming an architectural space. The soundtrack is an amalgamation of found sounds, experimental analog effects, and is a freestyle representation of the harmonies and chaos that are housed within the earth.

The soundtrack is inspired by the frequency and resonation of the earth, that when octaved up 24 steps, presents a sound that is recognizable by the human ear which is a "G" note. Not only is the G-scale very popular is music, but it also has a very predominant place in Western Culture and Music.

The overall inspiration for this installation comes from the movie "Alien" when Ripley enters the room where the alien Queen is continuing to give birth to numerous eggs. In turn, the log in the installation is the central point for where the branches are coming from and encompassing the entire room.

Branches and wood have been collected from all over Kamloops, BC, and house a collective smell that is intriguing and pleasant to the senses. The resonance from the log has the ability to shake your toes, glasses, or beverage container.

“Visitor / Màa”

“Visitor ; Mą̀ą” - 2018

The juxtaposition between nature and human activity is constantly fluctuating, changing, and adapting. This is present in every area of the world by different cultures and is approached in various ways through manufactured landscapes and environmentally conscious initiatives.

This installation flips the idea as nature reclaims architectural space as an alien-like form and reinforces its presence through audio-visual communication after studying our species over the centuries and showing us the effects of what humanity is doing to our planet.

Summer Sessions 2018 installation at V2_ in Rotterdam, Netherlands. Materials: Earth materials, Rope, Aircraft Cable, MAXMSP, Ableton Live, Laser Range Finder.

“Gone But Not Forgotten”

"Gone But Not Forgotten" - 2017

This installation pushes for recognition and remembrance of the women, children, and men that we have lost over the years in Canada due to the injustices, mistreatment, and economic scrutiny that First Nations people face on a daily basis.

The materials for this installation have been harvested along the river-banks of the Red River and Assiniboine River in Winnipeg, Manitoba. In some form as the water is all connected, parts of the spirit from the people that have been retrieved from these areas are soaked into the wood and present with us.

Thank you / Mahsi Cho,
Casey Koyczan

“Residential Values”

"Residential Values" - 2014

Performance Painting, Red + White + Black paint on canvas, Hockey Pucks. 90" x 42"

“Residential Values” is a performance painting that communicates the intergenerational effects of residential schools, and the racism that is faced in sports and everyday life.

Interpreted through personal experience and that of my father through his years served in residential school, the exhibit pushes to convey not only the pain, struggle, and anger felt through this period in life, but also to communicate the search for personal identity and culture in todays society.

My father, attended residential school in the NWT for 3 years within his early teens. His hockey skills were quite exceptional at a young age and would play with other students on the outdoor rink of the school. Often the priests and facilitators would join the students, which would encourage my father to play harder and succeed in the game; for this, he was punished.

He was strapped, abused, and mistreated almost on a daily basis throughout his entire service in residential school; I would hear the stories while growing up with him, and recently learned in detail about what happened.

He taught me and my brother to skate at an early age, and I entered into my first organized hockey league in the Atom Division in Whitehorse, Yukon. My brother moved back to Yellowknife to live with my mother, and after my adolescence in Whitehorse, my father and I moved to Lethbridge, Alberta so I could attend school and pursue a hockey career.

Although I made some great friends there throughout high school and college, it was difficult growing up in Southern Alberta as an aspiring indigenous hockey player. Mostly at games where we would travel through Alberta and Saskatchewan, it was common to receive racial slurs from the other team, and sometimes from teammates; love for the game faded quickly.

Despite receiving many invites from semi-pro organizations, I decided to eventually quit organized hockey. My decision wasn't approved by my father, who still has an immense passion for the game, but years later he understood that I needed to pursue my own journey.

This painting and performance is dedicated to the people and families who have attended residential schools in Canada. The efforts to reclaim our identities, spiritual practices, and societal equalities are constant and ongoing. Stay strong.

"Blood Memory ; Edoò Xenadì"

“Blood Memory ; Edoò Xenadì” - 2019

Materials: Ceramics, Rope, Cable, Audio - 8’ x 3’ x 15’

“Blood Memory” is an installation that communicates the reclamation of culture with the Dene drum. Throughout generations the Dene have expressed themselves and sang songs to honour elders, the land, and to pay respect to the loved ones that have passed on.

The Dene drum is something that I started playing three years ago, and have felt that it is what makes me feel my Tlicho culture the most; as if it has been with me my whole life. The music presented in this installation is a personal song of mine and utilizes effects such as delays, reverbs, and choruses to highlight experimentation and spiritual beliefs.

The ceramic tubes have been painted a gloss black, and represent indigenous hair in a gestured braid style, with the drumming and chanting flowing through them; channeled from the spirits above and travelling down to mother earth.

Culture and music are integral to the land we live on and represent, and we make our ancestors proud by continuing to practice, learn and share the wisdom that has been passed on through generations.

“Ek’et’a / Returning”

"Ek'èt'à (Returning)" - 2015

This installation represents the celebration of community efforts, and all that it has provided me over the duration of my education at Thompson Rivers University and time in Kamloops, BC. The installation was the final artwork created for the “Artificial Populace” residency hosted by Arnica Artist Run Centre. The audio is submitted clips from the public and from around Canada and was mixed together through various processes of experimentation.

“Isolation”

"Isolation" - 2015

The first installation / performance out of three within the “Artificial Populace” residency at Arnica Artist-Run Centre in Kamloops, BC from July 17th - August 29th, 2015. The overall theme for the residency is "Community in the 21st Century" and this installation is a representation of what can happen to certain people in today's technological age consumed by the media, conspiracy theory, and a manifestation of political anguish.

“Natur(al) Echoes”

"Natur(al) Echoes" - 2011

“Natur(al) Echoes” is a representation of global unity in a harvesting state; the push to overcome racial and stereotypical boundaries in an ever-changing world have broken through architectural walls in order to collect and display the variety of worlds in a working, efficient structure.

“Stitch / The Serpent”

“Stitch / The Serpent” - 2012

There are numerous living things on earth; throughout evolution and practices in scientific discovery, we have evolved into a species that has been able to dominate the land and vastly use its resources. We have also grown into a populous that is able to segregate ourselves into specific groups, clubs, or organizations. “Stitch” mimics a serpent that winds its way through the building to serve as a symbolistic effort to promote togetherness and unity among people.