Audio Description
Scott Benesiinaabandan, Cloth, Quill, Ghostlands, audio description, 04:29. Courtesy of Rebecca Singh.
Scott Benesiinaabandan, Cloth, Quill, Ghostlands, 2021. Image courtesy the artist.
Audio Description – Transcript
This work is displayed in landscape orientation in a six foot tall by nine foot long lightbox with a black frame. The lower edge of this lightbox’s frame is at average standing height shoulder level.
This overhead colour photograph is a closeup of six bundled sets of one-inch wide woven cloth strips positioned on a black surface. The differently shaped bundles are displayed equally spaced in two rows. They will be described clockwise from top left.
The top left is two strips, yellow and red. The shape of the strips of cloth form a rough almond shaped outline. There is a porcupine quill which pierces the two strips and holds them together on the left-hand side.
Top centre are three strips, red, yellow, and blue, also pierced by a porcupine quill. The strips sit in a circular shape with the red strip, resting folded over top of the yellow and blue.
Moving to the top right the strips are white, yellow and dark blue. They are twisted together and sit in an upside down “U” shape. The porcupine quill is red and pierces the cloth on the right hand side.
Moving to the bottom right, the strips of cloth are red and light blue. They are bunched up in a tight wad. The 2 inch porcupine quill is white with a gray brown tip at either end. It pierces the fabric at the centre of the wad.
Centre bottom is light blue and yellow fabric shaped like a lowercase R. The strips have partially been folded together, and the yellow is on the left. The porcupine quill is at centre and is red.
Left at the bottom, the fabric is blue with tiny white flowers on it. It is in a bunch. The red porcupine quill is at the bottom near the right hand side.
They Appear This Way
Scott Benesiinaabandan, They Appear This Way, 2021. Text and audio courtesy the artist.
At the heart of this photographic series lies an interplay between language, image, and meaning, inspired by the structural and philosophical foundations of Anishinaabemowin–an agglutinative language that builds meaning through the assembly of morphemes. This linguistic architecture finds its parallel in the imagery, which explores the generative spaces between assembly and disassembly, remembrance and forgetting. This cyclical process of flux inherent in both language and image making–forms both the conceptual and visual foundation of the work.
Colour plays a fundamental role in Anishinaabe onto-epistemology, particularly in naming ceremonies where specific arrangements are deeply connected to natural phenomena, such as seasonal light and our orientation within the Universe. As a Midewiwin elder shared during the artist’s naming ceremony, “Without names and colours, the spirits cannot see or hear you.” Names and appearances evolve with personal growth, reflecting transformations visible to both human and spirit worlds.
More than documentation, this image is an assemblage where cloth, colour, and language intersect to create a fluid matrix for examining ontological engagements. It evokes the liminal spaces between language and image, assembly and disassembly, the visible and the spiritual– mirroring the generative nature of Anishinaabemowin.
This series is accompanied by a sound and text work titled They Appear This Way.