above: "The Princes of the Land and Sea" photo created by Allison Akootchook Warden, 2016.
Artist Statement
As a young Iñupiaq, I saw the impacts of the rapid colonization of my traditional homelands and how they manifested as disease in myself and also my family. I heard stories of my great-great grandfather and also my great-great grandmother, how they would utilize traditional methods to heal their communities collectively, and at a young age, I began to look towards the arts as a vehicle for possible neo-traditional community healing methods. My grandmother was known for getting audiences to laugh, and at a young age she recognized my talent in the performing arts and encouraged me to carry our Iñupiaq culture forward in unconventional ways.
My practice has evolved from being involved in theatre at a young age, to that of a playwright, then moving towards performance art and music that incorporates theatrical techniques. I then began creating installation art as a way to envelop audiences through social practice techniques. I incorporate poems and creative writing in my practice, as another strategy for audience impact. Today, I weave all of these genres and mediums in a way that forms a new genre of art, one that is deeply grounded in my traditional Iñupiaq worldview.
My process of creation begins from my identification of a community "sore spot", a place in the collective psyche that is difficult for people to have a conversation about, that might be difficult for people to look at. I then conduct extensive research, which includes talking to my Iñupiaq Elders and culture bearers about my possible methodology and approach to the problem. I then experiment with different genres, finding the right combination of techniques to present the results of my research to an audience. My goal is to create a space that empowers audience members to participate actively with the installation, with different access points to meet people where they are at, opening the challenging conversation with humor and tough love. My intention is to create a space for the audience to come to their own conclusions around the "sore spot", and hopefully shift their perspective in a way that has a healing effect.
My role as an artist is that of a community healer, one that provides inclusive environments for all people to decolonize and to process the impacts of the changing climate and also the political climate. I see museum spaces and art galleries as quintessential spaces from which to continue the healing work of my bloodline. In 2018, my tools are installation art, social practice techniques, sculpture, visual art, performance art, sound art, music, creative writing and video installation. I see all genres of art as possible healing methodologies, activated through the lens of my Ancestors. It is important that I have freedom in my creative practice to connect all genres of art towards my proposed hypothoses and the possible solution to the community "sore spot".
My goal is to create stand-alone installations, that do not require my presence in the space as a performer for the impact to be felt, and for the audience to be transformed. I am excited about collaborating with Iñupiaq photographer Brian Adams, as we both bring different strengths to the work and we both care deeply about our fellow human beings, as well as our own Iñupiaq people.
My practice has evolved from being involved in theatre at a young age, to that of a playwright, then moving towards performance art and music that incorporates theatrical techniques. I then began creating installation art as a way to envelop audiences through social practice techniques. I incorporate poems and creative writing in my practice, as another strategy for audience impact. Today, I weave all of these genres and mediums in a way that forms a new genre of art, one that is deeply grounded in my traditional Iñupiaq worldview.
My process of creation begins from my identification of a community "sore spot", a place in the collective psyche that is difficult for people to have a conversation about, that might be difficult for people to look at. I then conduct extensive research, which includes talking to my Iñupiaq Elders and culture bearers about my possible methodology and approach to the problem. I then experiment with different genres, finding the right combination of techniques to present the results of my research to an audience. My goal is to create a space that empowers audience members to participate actively with the installation, with different access points to meet people where they are at, opening the challenging conversation with humor and tough love. My intention is to create a space for the audience to come to their own conclusions around the "sore spot", and hopefully shift their perspective in a way that has a healing effect.
My role as an artist is that of a community healer, one that provides inclusive environments for all people to decolonize and to process the impacts of the changing climate and also the political climate. I see museum spaces and art galleries as quintessential spaces from which to continue the healing work of my bloodline. In 2018, my tools are installation art, social practice techniques, sculpture, visual art, performance art, sound art, music, creative writing and video installation. I see all genres of art as possible healing methodologies, activated through the lens of my Ancestors. It is important that I have freedom in my creative practice to connect all genres of art towards my proposed hypothoses and the possible solution to the community "sore spot".
My goal is to create stand-alone installations, that do not require my presence in the space as a performer for the impact to be felt, and for the audience to be transformed. I am excited about collaborating with Iñupiaq photographer Brian Adams, as we both bring different strengths to the work and we both care deeply about our fellow human beings, as well as our own Iñupiaq people.