M I S H I B I N I J I M A

MISHIBINIJIMA ART EXHIBITION and DISPLAYS

2012-01-30T23:25:00.000-08:00

MISHIBINIJIMA ART EXHIBITION
WOODLAND PRINTERS AND ART NATIVE GALLERY
16 Woodland Drive,
Serpent River First Nation
PO.Box #7
Cultler, Ontario - 705- 844 - 2132

This 2011 - 2012 Mishibinijima Art Exhibition will inform the art collector that Mishibinijima collected specific images from 1995 - 2011 and published which includes the 9-11 and the 2001 - 2011 mural images. Mishibinijima preparing to open another art gallery in the greater Toronto area and house everyone's Mishmountain originals can be seen and fine art reproduction prints can be purchased through Mishibinijima associates and managers

US-CANADA DUTY FREE SHOP SHOWROOM
Surrey, British Columbia

Mishibinijima 2011-2012 year- end art exhibition in Surrey British Columbia and Mishibinijima's Private Art Gallery in Wikwemikong will open February 1, 2012 by appointment only and please don't forget your viewing appointments and not get lock out: 705-859-3871 or james.mishibinijima@gmail.com .

MISHIBINIJIMA INTERNATIONAL OBSERVATION

2012-01-12T09:01:00.000-08:00

OBSERVATION: There's one very important observation I learn being a full time artist over forty-four years and that's never to allow inclusion of politic's or politicians, special interest groups or just people in general into your most inner circle of art business.

These people mentioned above hold hidden agenda's that could harm your art career and better yet, leave them alone as my legal advisor said, " Just do what you do best which is painting and let your professionals handle the outside circle of your art business and never endorse anyone which includes artist." - MISHIBINIJIMA 2012

BOO-TAW-GAWN ( MORTAR and PESTLE

2011-12-29T09:21:00.000-08:00

Title: BOO-TAW-GAUN
Medium: Acrylic on canvas
Size: 24" x 40"

Culture is the foundations of a nation that brings identity, one item such as a boo taw-gaun called in Ojibwe-(mortar and pestle) leads to great understanding to what area or area's was this tool used by it's people.
Conversations will unearth how the native people used this tool to crush corn for food our to crush plants and roots to make medicines.
Artist and story tellers alike place too much emphases on the spiritual aspect of design to a First Nation culture and identity forgetting, "How did we survive and what did we use to survive in North America'.
Spiritual designing leaves out the nations culture in survival which leaves the foundations become void because, spiritual culture followed by any individual and leaves a nation a path to no destiny.
I know it's very important to bring out your professionals in design because the seventh generation will have teaching knowledge of study and depends on any organization how strong they feel about this message, How much is your culture worth to you?

Questions: james.mishibinijima@gmail.com
Copyright: violettelaw.com

SEVEN GRANDFATHER STONES and the TREE OF LIFE

2011-12-18T11:25:00.000-08:00

Title: THE SEVEN GRANDFATHER STONES and the TREE OF LIFE
Medium: Acrylic on Canvas
Size: 30" x 30"
Price: SOLD
Note: The story of each item painted was digitally documented and story told step by step for a better understanding about ones life. Each photograph from start to finish were taken in sequence from start to finish.
Questions: james.mishibinijima@gmail.com
Copyright: violettelaw.com

MISHIBINIJIMA BIOGRAPHY

2011-11-08T10:58:00.000-08:00

Mishibinijima, one of Canada's foremost artist, has created a unique body of work over the past four decades and established a loyal following in North America and overseas. He was born February 12, 1954 in Wikwemikong, Manitoulin Island and grew up immersed in the legends of the Ojibwe people. As a youth he was known as James Alexander Simon, but now he is widely recognized as MISHIBINIJIMA., practitioner of many diverse styles and media. Over the years he has been awarded many First Place and Best of Show prize at international art exhibitions. Currently, he serves as a judge and mentor for many North American juried art shows. He also develops curriculum materials for First Nations schools and continues to amaze art collectors with the detail and intricacy of his canvases.

   From the 1970s to the present, Mishibinijima has explored many of the sacred places around Manitoulin Island and originated the sought after MISHMOUNTAIN series among others.
His uplifting philosophy has struck a chord with people who are seeking solace in the midst of tragedy and meaning in a world that us often confusing and frightening. The themes depicted in his paintings have universal appeal and speak to all who yearn for spiritual sustenance. In his works he underscores the wisdom of the Grandfather teachings as a way to foster respect and peace. He also emphasizes the interconnectedness of all life and calls upon all nations to preserve our natural surroundings for the benefit of our children - always, he urges us not to take the Earth for granted.

   Mishibinijima takes his role as an artist in society by courageously examining the difficult questions facing humanity. For example: he has meditated on the horrendous atrocities of the 9-11 attacks and the Holocaust on order to touch and articulate the ancient truths that have the power to save us all. For those who have yet to discover the metaphysical depths of Anishnabe culture. Mishibinijima offers timeless teachings and universal values to guide the people of the New Millennium into a positive future.

DRUMMING OF THE PARTRIDGE - Sacred Dialogue

2011-10-24T14:05:00.000-07:00

Title: THE SACRED DIALOGUE OF A DRUMMER Medium: Acrylic on Canvas
Medium: Acry;ic on Canvas
Size: 16" x 20"

The Sacred Dialogue of a Drummer: The sacred dialogue of a drummer is a teaching I heard many years ago, people need to use guidence from the animal world to express peace such as the " Partridge". The bird offers mystic spiritual communications to our inner spirit.
james.mishibinijima@gmail.com

THE BASSINET of a HUMMINGBIRD

2011-10-23T10:47:00.000-07:00

Title: " THE BASSINET OF A HUMMINGBIRD "
Medium: Acrylic, Canvas, Gemstone
Size: 24" x 30"
Price: SOLD

" NEW OWNERS "

PAINTINGS ON BIRCH BARK - READY FOR SHADOW BOX FRAMING FOR THAT THREE DIMENSIONAL EFFECT.- ( FEW LEFT )

2011-09-25T16:54:00.000-07:00

Title: SPEAK THROUGH GUIDANCE - SOLD

Title: GUARDIAN SPIRIT TO MANKIND - SOLD

Title: GUARDIAN OF THE SACRED DRUM - SOLD

Title: BALANCE OF LIFE - SOLD

Title: SACRED MEDICINE BUNDLES - SOLD

Title: CELEBRATION OF LIFE - SOLD

Title: PARTNERSHIP - SOLD

Title: TOBACCO TRAP - SOLD

Title: SPIRIT WORLD GUARDIAN - SOLD

Title: SPIRIT WOLD

Medium: Acrylic on Birch Bark

Size: 20" x 28" - Just the Bark size

Price: $4,000.00

When I slammed into the rock cut during my teenage years, I went to a place where nothing else matters, only thing I felt was a light of peace, these beings standing around me spoke in a language that's....

Title: SACRED CIRCLE on WATER
Medium: Acrylic on Birch Bark
Size: 9" x 25"
Price: $ 1575.00

Title: Sacred Circle on WATER
Medium: Acrylic on Birch Bark
Size: 9" x 25"
Price: $ 1575.00

Title: ORIONS BELT
Medium: Acrylic on Birch Bark
Size: 11" x 16"
Price: $1000.00

Title: PERFECTION
Medium: Acrylic on Birch Bark
Size: 7" x 13"
Price: $ 700.00 - SOLD

Title: SACRED MOUNDS
Medium: Arcylic on Birch Bark
Size: 12" x 16"
Price: $ 1350.00 - SOLD

Title: THE PURPOSE
Medium: Acrylic on Birch Bark
Size: 7" x 12"
Price: $ 600.00 - SOLD

Title: TRUST
Medium: Acrylic on Birch Bark
Size: 7" x 12"
Price: $ 825.00 - SOLD

Title: INNER SPIRIT
Medium: Acrylic on Birch Bark
Size: 9" x 12"
Price: $ 670.00 - SOLD

NEW ART COLLECTORS

MISHIBINIJIMA ART COLLECTOR

MISHIBINIJIMA'S FINE ART CARDS - Published by FUJI Corporation in Dusseldorf, Germany

2011-09-20T14:09:00.000-07:00

Discriptions to each fine art reproductions on acid free paper are written on the back of each card.These publications are sold as a package for $ 350.00 more information: james.mishibinijima@gmail.com

SEVEN GRAND FATHERS

2011-09-07T12:19:00.000-07:00

Title: SEVEN GRAND FATHERS
Medium: Acrylic on Acid Free Paper
Size: 48" x 9"
Price: $ 3,000.00 - Original Artork

This image available on print through WOODLAND STUDIO'S AND ART GALLERY.
james.mishibinijima@gmail.com

24 pcs.- PICTOGRAPH PROJECT: To understand these sacred writtings, your mind needs pure understanding towards this language..

2011-07-15T11:43:00.000-07:00

Title: CONCEPTION - 2 Medium: Acrylic on Acid Free Paper Size: 11" x 15" Price: $ 500.00 CONCEPTION: The gift of conception is long written before creation, humankind needs to think where everythings leading. If mankind doesn't watch over his surrounds, the only species that will be missing is him.Title: SPIRIT WORLD DIMENSION - 1 Medium: Acrylic on Acid Free Paper Size: 11" X 15" Price: $ 500.00 " SPIRIT WORLD DIMENSION "

SACRED SMUDGE ILLUSTRATION PROJECT; 2001 - 2006: These images and written scripts will be sign over to MISHIBINIJIMA'S legal council, let them watch over this project internationally.

2011-06-22T06:25:00.000-07:00

1. Book Cover: Smudging Bowl
NOTE: My mother and I walked the forests of Wikwemikong to harvest sacred smudge medicene over a period of 15 years and each time she told me not to bring a note book for me to undertstand what each sacred plant represents for spiritual self cleansing and it's very important to use spiritual medicene with balance. ( brief statements for each medicene will follow.)

2. CHI-WAUB-BIN-NOO-ISK-K

This plant holds special energy to ward off negitive light and thoughts towards anything you own and use daily.

3. WEE-GUSH

The braided sweetgrass represents hair of the Great Spirit, this will cleanse your inner light and your personal property.

4. WA-AUB-BUCK-GOO'S

This medicene will help your spirit hide in thick smoke to recognise your negitive adversary.

5. MISS-SQUA-BOO-NEEK

This medicine protects your daily tools of survival, no matter what the tool might be, they all need cleansing before using.

6. NOAH-DI-BAUN-ME'-SHEE'S

This medicene can change it's appearance and decoy the words and thoughts of negativity that lurk around us.

7. GEESH-KAUN-DUK

8. WAUB-SH-KA-BOO-NEE-KA

9. BE'-ESH-GO-SHEE-SWAUN-NOOK

10. WIG-WAUS-NEE-BEESH

11. CHED-A-MOU-SWAUN-NUK

12. MAUN-STAUNT-SHEE;SWAUN-NOOK

13. SHA-SHA-BOAK-SI

SACRED SMUDGE: Each medicine plant serves a purpose towards cleansing your -spirit for spiritual strength. It's very important for mankind to see with clarity because it's very easy to have negitive light planted within you. You can tell when this happens, a person will walk in confusion then clarity with judgements call is absent, your inner spirit ventures out in darkness because the inner light within you has blown out and why it bumps into things you need to go on.

The Sacred Smudge along with the Seven Grandfathers teachings hold the foundations for living in harmony for all mankind, all it needs to understand is by taking a good look within his household because, thats the next generation of tomorrow and ask himself, what will this child teach towards it's peers.

Sacred Smudge Medicine and the Seven Grandfathers teachings are internationally thought by the worlds people in some form but more needs to be done through understanding and where to begin,

To build a strong house, the house needs a strong foundation to weather storms it might face and the storm right now is the youth's deterioration and the most important things to remember, some of these youths are parents now.

( MORE DETAILS ABOUT THE SACRED SMUDGE ON THIS PAGE OR CONTACT)james.mishibinijima@gmail.com

SPIRIT ART: PRAYERS IN THE GARDEN

2011-06-22T06:24:00.000-07:00

Title: KINGDOMS - SOLD

Title: SACRED WOMB - SOLD

Title: SACRED COLORS OF MAN - SOLD

Title: YESTERDAY AND TODAY PICTOGRAPHS - SOLD

Title: SACRED BUNDLES - SOLD

Title: SACRED FISH - SOLD

Title: LOONS NECKLACE - SOLD

Title: SACRED CIRCLE OF MAN - SOLD

Title: MIDNIGHT MOON - SOLD

Title: SHAKING TENT - SOLD

Title: SEVEN GRANDMOTHERS - SOLD

Title: THREE NATIONS - SOLD

Title: SACRED MOTAR - SOLD

Title: GREAT LAKE WATER KEEPERS - SOLD

Title: SACRED GARDEN - SOLD

CONCEPT OF SIMPLISTIC UNDERSTANDING - ALL SOLD

2011-06-20T11:33:00.000-07:00

Title: The Families Path
Medium: Acrylic on Canvas
Size: 12" x 12"
Price: SOLD
Families Path: We seem to lack protection towards our brothers and sisters in the family unit. We need to speak pure understanding about " LOVE". Be it a BIG BROTHER or BIG SISTER.

Title: Eagle Clan - with - Bear Clan
Medium: Acrylic on Canvas
Size: 12" x 12"
Price: SOLD
EAGLE AND THE BEAR CLAN: Eagle will remind you to aim high or look down high above to see your spiritual path towards self-understanding. and the bear clan are the people that offer protection to all, a spiritual duty.

Title: The Tree Marker
Medium: Acrylic on Canvas
Size: 12" x 12"
Price: SOLD

TREE MARKER: A tree marker bent over is called a "Waum Tug Zee" in my language, These markers were " set and pointing in a certain direction" all over the islands and shores of the Great Lakes for safe passage. Very few remain as others were chopped down by people who purchased these islands for recreation.

MISHIBINIJIMA'S WEEKLY ART AUCTION - # 5 - SOLD

2011-05-25T19:49:00.000-07:00

SOLD : james.mishibinijima@gmail.com

FINE ART REPRODUCTION: "JOURNEY"

2011-05-18T06:22:00.000-07:00

Title: JOURNEY

Medium: Fine Art Reproduction on Acid Free Paper 40 wt.

Size: 28" x 24"
Price: $ 250.00 - Autographed

JOURNEY: Mother earth itself is the centre of human existence, what we build and destroy on and in her is what we do to ourselves. For many years now, elders have great concerns in human activity and see the waste that we cause. This also reflects the minds of the youth as the next generation will carry the blunt in what we've done but the final assault we be the health of our drink water as it turns into poison.

MISHIBINIJIMA'S PICTOGRAPHS $500.00 Each. This page will be up two days for a clients.

2011-04-05T12:46:00.000-07:00

Title: UNDERGROUND FORCES - ( 12 ) - Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 15" - Price: $500.00
UNDERGROUND FORCES: Life forms came from deep within the fires of Mother Earth, what does to herself. life forms don't have a say.

Title: FISHBONES - ( 11) - Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 15" - Price: $ 500.00 FISHBONES: Human survival offers a balance of great respect towards harvesting for human consumption. When you sit around a camp fire after a fish harvest for example, never through the fishbones into the fire because that fish gave up his life to help you survive another day and don't put the spirit of that fish into that torment.

Title: THE SACRED CEREMONY - ( 10 ) - Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 15" - Price: $ 500.00 THE SACRED CEREMONY: Through careful teachings of the medicine men, it's very important to follow the scared process being thought to you. No wonder why the medicine teachers don't want you to write down and document sacred teachings. Medicine people rather speak to the mind during a teaching session because the heart will ask questions if your mind doesn't understand the answers given. Title: STRONG INNER CIRCLE: ( 9) - Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 15" - Price: $500.00 STRONG INNER CIRCLE: As a full time artist over forty three years, I needed careful guidance from the medicine people and elders alike for subjects I need to paint or sketch. Visions entered the mind after a few paintings done back in 1969 and asked the medicine people why this was happening. In turn they explain, if anyone draws or speaks about the spirits, they need to offer thanks to these scared beings because you summoned them. And these spirits will need daily sacred smudge for the "whys" they were summoned. Any art historian or art collector need to look be-on line work and color, a painter for example will take a personal journey of painting forms of color through spiritualism and one day the human circle will come to and end and then his spiritual subjects move on without the Smudge from the human side of creation. My duty is to teach my art collectors to power of sacred smudge that no harm will come to the owners or the residence where the painting is housed for reasons of protection against negative lights from mankind. I myself will not sell a painting to a person who I feel that has a hidden agenda, cleansing needs to be done before such action will begin and that art collector is placed inside my sacred circle of protection and everyday the smudge is used, that circle is cleansed to focus on their own lives. That's why I say a person needs to look be-on the color and line formations on native art. Just because you don't believe it, that's doesn't mean negative lights exist. Just feel your surroundings and see what I mean. When this negativity doesn't stop and it's channels, it needs to be destroyed. Title: FRESHWATER - (8) - Medium: PENCIL ON ACID FREE PAPER - Size" 11" x 15" - Price: $ 500.00 FRESHWATER: One day, the sacred element of water will come against man if he doesn't watch over it.

Title: MOTHER EARTH GIVING BIRTH OF FRESHWATER -( 7) - Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 16" - Price: $500.00 MOTHER EARTH GIVING BIRTH OF FRESHWATER: This resource is slowly depleting from the minds of people. The country of Japan gave us a glimpse into our own future and see what can destroy North America's much needed resource and even that, would you drink a cup of water off the Great Lakes? Yes, it's that far gone where we can retrieve it. Title: SKY DREAMING -(6) - Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 15" - Price: $500.00 SKY DREAMERING: Sky dreaming is a ceremony which allows you to see your sacred path from high above.

Title: BLUE HERON -(5)- Medium: PENCIL ON ACID FREE PAPER - Size: 11" x 15" - Price: $500.00

BLUE HERON: The blue herring or any other animal life needs greater respect from mankind. These beings offer knowledge in what's in store for mankind in human survival. The blue heron arrives sometime during the mid spring to the north saying, their path of flight haven't been distrubed yet. But other animal such as the tree frog for example we haven't see for quite awhile as and elder said, somethings in store for mankind as it changed the path for the tree frog.

Title: PII-YENHS ( Little People in the Forest) - (4) - Medium: Pencil on Acid Free Paper - Size: 11" x 15" - Price: $ 500.00 PII-YENHS - ( Little People in the forest): Many stories are told among the native people about the little people in the forest, every now and then the little people of the forest will kidnap an unsuspecting human and take him back into the forest to play is the usual word they use to convince you to go with them. I remember a very good friend growing up in my community that one summer holidays I didn't see him because they lived in a farm setting off the community but the following September when the school started, I really noticed that he was very quiet and a few weeks after the school started, I asked him what was the problem and what happened. He spoke about the little people and how they came from the bush and asked to go with them. They took me to a place that's very hard to describe. The place resembled a cave at first but the tree and plant growth was different as he spoke about this event. Title: HORNED SPIRITS - (3)- Medium: PENCIL ON ACIDE FREE PAPER - Size: 11" x 15" - Price: $500.00 HORNED SPIRITS: One Friday night during the sixties, my mother decide to pick a bowl of apples by the apple tree that stood beside the property line at the old homestead. That time our community had no electricity as she set out only with a flash light. As she set out for the apple tree, a few moments later, we heard a scream as the little ones ran out and see what was happening. We were all standing on a small wooden porch as my mother was running up a small hill and screamed, " get back in the house". She described what she seen and there was a horned spirit standing by the apple tree looking at her and spoke but couldn't understand the language the spirit was speaking she said. Title: MAN'S LUST OVER EARTH'S RESOURCES - (2) Medium: Pencil on Acid Free Paper,,, Size: 11" x 15" Price: $500.00 MAN'S LUST OVER EARTH'S RESOURCES: Mankind needs to work with balance for what he truly needs in human survival. We became a very wasteful society and not thinking of our future generations to come. Our own reflections of greed has upset the balance of Mother Earth, just look at the four elements and all we need to survive especially water and air. Title: A NEED TO HONOR MOTHER EARTH - ( 1 ) Medium: Pencil on Acid free Paper... Size: 11" x 15"...Price: $ 500.00 A NEED TO HONOR MOTHER EARTH: Mankind's walking through a time where Mother Earth will backlash mankind. I remember during the sixties, an elder made a comment stating, some day the earth will hurt mankind, the same way a cup of water gets spilled on an ant hill or a brush fire where animals flee. But most important of all, what will he do when he destroys the water he drinks or the ground he walks on, warnings will come forth and show him that he needs to hold great respect and the ground he walks on towards mother earth.

BOOK COVER for MISHIBINIJIMA'S MISHMOUNTAINS SYMBOLISM'S ( PROJECT COMPLETE)

2011-03-24T12:36:00.004-07:00

MISHIBINIJIMA'S MISHMOUNTAINS SYMBOLISM'S: I think it's time that Mishmountain art style symbolism to be revised. Some symbols I created through the guidance of the pictograph teaching I no longer use but use the real pictograph symbols and their teachings.

I was invited to talk at a native art symposium few years ago. Artist, crafters and people who do cultural regilia are cross culture the true heritage of native american tribes while the younger generations get confused which is their true culture.

Each native american culture is so unique, it truly speaks how people survived through the centeries through spiritualizm.

Native people are heading towards a future that is so diverse.

MISHIBINIJIMA'S MISHMOUNTAIN SYMBOL BOOK:

2011-03-24T12:36:00.003-07:00

WAUB-BUN-NUG-ZEE: ( TREE MAKER ) 17: The warnings of the tree makers can still be seen all over the great lake islands of North America, many of these tree markers have been cut down since because of the awkwardness they stand. But these tree markers were place there for a purpose for you to have a safe passage over water and pointing you the right way for your journey.

SACRED LODGE WITH SPIRIT WITHIN - ( PAGE 16 ) The sacred lodge pictograph is always mention in any pictograph writings anywhere in the world which goes to say, your lodge meaning your home needs to stay pure also. When entering a ceremony, you'll feel that your about to enter the womb of Mother Earth.

HANDS OF THE GREAT SPIRIT - (PAGE 15) We need to place our minds into another level to understand this pictograph, everythings given to us by the great spirit any way or form. The fork symbol are the two hands of the great spirit joint together. ( Offering )

SHA-BOUWS-SI-AWK SIN ( DIAMOND ) - ( PAGE 14 ) Elder Michael spoke about a clear stone one afternoon during the early sixties, they expressed how the rock can't be broken by another rock which at the time I didn't know what they were talking about. What really stuck to me that afternoon was, this rock resembles allot like your inner spirit and the only light and property we take into the spirit world.

SACRED SMUDGE - ( PAGE 13 ) The sacred smudging bowl contains a the scared medinice to keep your surrounds pure. And same goes for the universe inside our inner spirit. We don't enter the human universe when a human spirit completes it cycle, we enter the inner universe with our inner spirit.

THUNDERBIRD - ( PAGE 12 ) My first recollection in speaking with elder story tellers was this pictograph and how elder Jim expressed it. This pictograph explains a spirit that came from above, People called it a thunderbird because the being made a sound of thunder when it aproached the sky. You have to keep an open mind reading these writings because a medinice man or a story teller way back when tried to convey this message into the future for use to read today.

SACRED EYES - ( PAGE 11 ): Sacred eyes or spirit eyes are well represented in the pictograph, it's shown with a circle and a dot placed in the middle, just like any other living being walking on earth. Sometimes you'll see this image placed along with sacred ceremony symbols which explains, some one's always watching and you'll be judged by those actions.

BALANCE OF TRUTH - ( PAGE 10 ): I seen a pictograph book on a coffee table during the times we conducted art camps in the early eighties and told the elder this pictograph looks allot like and eagle feather and told me I was right. I didn't want to use the same image because of Sam's guidance, I decided to use the shadow of an eagle feather after seeing a vision after a sacred ceremony near Dreamers Rock.

The elder Swifthawk used the eagle feather while he explained the balance of truth and told us how to forgive and use extra care in this area because non-truth carries negative light that can harm you.

That following month, I was invited to do an art exhibition in Toronto and felt really honored, and that opening night I explain how important the land is, especially the water if we need to co-exist with the land through balance and being truthful.

To my amazement, I was ridiculed and told I was a trouble maker that Canada has all the freshwater in the world and don't need a person like me to explain.

That day the trust fell towards Canada, I will forgive but not trust, every person needs a chance to be forgiven.

SACRED BALANCE OF MOTHER EARTH - ( PAGE - 9 ): The sacred balance of mother earth is how you want your future grandchildren to live, do you want them to be self-respectable and filled with honesty. The earth is you and someones always watching.

We can't do harm to the people who aren't here yet and just perhaps, these are the people who are watching our every move when we feel someones watching when were alone.

SACRED ANIMALS - ( PAGE 8): Mankind is not the only living being on Mother Earth, other living beings came here equally and were all connected. When we lose one and goes away forever, man is on a very dangerous path to harm himself. Everything had a purpose.

FOUR SEASONS OF BALANCE - ( PAGE 7 ) : We understood the seasonal changes that came to our area by reading nature. In certain seasons such as spring and fall, you have the sun rising more from the North and South or how the setting sun shares it's colors for up coming weather changes, or how you look at the quarterly moons knowing will it rain or snow. All these teachings are based around us, and all you need to do is open your eyes and listen.

SACRED PLANT LIFE WITH SPIRIT BEINGS ABOVE - ( PAGE 6 ): Sacred plants such as the sweet grass gathers it's sacred energies deep within the ground of mother earth along with other scared plants that grow around her. And shown above are sacred energies watching over.

My mishmountain symbols became a pattern of creation through the helpful guidance of elders living and past on in my community.

NUMBER OF DAYS ( PAGE 5) Pictographs writings is a language that speak in a certain way. I started to understand these writings by living with them and asking elders for guidance to the ones you don't understand like the language's of today.

One dot connecting to a line represents one day because our ancestors knew how long they need to stay in a certain area before seasonal changes begin.

SKIN OF MOTHER EARTH-AHKI -(PAGE 4) ( ahki ): Mankind needs to take extra care towards to the life of Mother Earth especially the changes he does to it. It's very easy to harm the ground through contamination and man made destruction.

I use to place just one line that represents the skin of Mother Earth in my paintings then one afternoon I had a visitor by the name of Swifthawk and told me to add more work to explain this part for people to understand. Use lines that represent connections because mankind is connected to everything.

NIMKEE MANITOU- (PAGE 3) An elder by the name of Michael use to be our neighbour living near our family home and one late afternoon, a thunder storm was approaching over the horizon and Michael referred lightening bolts as Nimkee Manitou.

Thunder will strike on certain places over the land as nimkee manitou will ward off the underground manitou's that leave negative energy just below the surface and waiting for a person the walk by and connect to it.

Nimkee is a very powerful being which created all life for Mother Earth.

ANCESTORS FOOTSTEPS- ( PAGE 2) Culture is the most important part in human society. We need to share cultures and societies to have that open dialogue in harmony. The footsteps of our ancestors walked the earth for survival and wrote down their adventures on stone. More pictographs can be found written on animal hide and birch bark. We all need to offer some tobacco and thank the ancestors for the gift of life. Sam use to talk about ancestors and questioned him many time about the pictographs and simple said, pictographs were a form of communication, if there's something written on stone or any other form, that writings very important to hold on and save for future generations. It doesn't have to be the way their written back in the time but if you have information to pass on, write it down and revise it so everyone will understand.

TREE OF LIFE - (PAGE 1 ):Teachings to the Tree Of Life spoken in many different ways in native culture. One of those ways was thought to me by elder by Mr. Sam Osawamick. Sam was Ojibwe Odawa and Pottawatomie orgin from our community.

Once he told me, this " tree of life" teaching is very easy to understanding and really up to us if we chose to understand it, the hard part is to follow it.

Our spiritual path designed way before were born on Mother Earth, many times you'll be tested and many times you'll fail. "Spiritual Paths" or "The Tree Of Life" is a simple teaching to understand and all you need to do is to take a good look at yourself and see what you truly need. When we try to get things that our neighbours have, this is where our Spiritual Path and design gets confused and ultimately fail. this is where people get confuse and create problems in there life.

When confusion sets into your life, you have the ability to chose another branch from the tree of life and follow that branch towards discovery. When you stand back and take a good look, you have so much branches to chose form.

MEDICINE MAN - PICTOGRAPH

2011-02-10T11:03:00.000-08:00

Title: Medicine Man
Medium: Acrylic on Canvas
Size: 12" x 12"
Price: SOLD
Medicine Man: This pictograph symbol represents a medicine man which a third buffalo horn is earn upon entering the spirit world.
Eagle feathers in the background are hung on cedar trees or old cedar trees through a ceremony with a loved one who entered the spirit world and that feather is given food offerings until it become part of Mother Earth.

TURTLE WITH INNER-SPIRIT - PICTOGRAPH

2011-02-10T11:00:00.000-08:00

Title: Turtle with Inner-Spirit
Medium: Acrylic on Canvas
Size: 12" x 12"
Price: $ SOLD
Turtle: This pictograph symbol is a spirit turtle with a spirit within, this spirit upon all things on mother earth and why we feel and why we communicate sacred items in a special way because that inner spirit connects to us in a special way.

TWO SINGERS "PICTOGRAPH"

2011-02-10T10:55:00.001-08:00

Title: Two Singers
Medium: Acrylic on Canvas
Size: 12" x 12"
Price: $ SOLD
Two Singers: Twe singer pictograph represents two people beating the same heart beat of trust and communication.

THIRTEEN GRANDMOTHERS PROJECT - # 1

2010-03-03T10:58:00.018-08:00

Title: Thirteen Grandmothers - " ALL LIFE "

Medium: Acrylic on Canvas

Size: 20" x 16"

Price: SOLD

LEGEND:

1. Pregnant Woman: She holds the future generations in her stomach and anything what mankind does to the natural world will effect that child in so many ways.

2. EGGS: The eggs represent the four races of mankind, it's time to become one an this great nest we call Mother Earth, breaking down the barriers of color will unite man to solve in harmony wthin means.

3. Talking Stick: It's very important for open dialogue and ask this very important question, what can I do to help you, then the harmony of helping each other is born towards a human community.

4. Universe and Water: These elements created all life on Mother Earth.

GRANDMOTHER ONE: " ALL LIFE "

Mankind have witnessed drastic change is about to happening around him, many decades have pasted where the "Spirit of Natural Shift" have revealed itself for him to see it he doesn't change his ways towards living in harmony.

Sacred symbol in native culture mentions the "WHITE BUFFALO" in it's PROPHECY and once this buffalo is born, the great shift is entering the way we live on Mother Earth: Note: I had a chat with this elder the other day and told him about me project and said a very important statement.

Mankind doesn't respect each other anymore, look around you, this reflects mankind is what he does to his home and the earth around him. Things happen where people closed their eyes to bad events such as earth quakes. forest fires and allot of other things around him. What he needs to know is how to live within it's means and look what he needs to survive but only creates hardships in how he wants to live.

The sacred medicines and the sacred stones of today are used to harming people and the natural world around us and not too long, SPIRIT OF GREAT SICKNESS will surface and mutate itself within man.

This will happen because man needs allot of clean water to survive into the future and this natural resource is slowly depleting while the germ mutates and multiplies itself and remember, this is only one sickenss.

The endless universe is very complex and limited for human comprehension, just as the same towards the inner universe of the human body.

" SPIRIT OF THE GREAT SHIFT " has arrived and time to talk is over, we need to act now.

Note: This project will consist thirteen paintings plus one ( book cover ). Each painting will supply a brief statement that represents the Thirteen Grandmothers until this project is complete.

THIRTEEN GRANDMOTHER PROJECT: #2

2010-03-03T10:58:00.017-08:00

Title: KINGDOMS

Medium: Acrylic on Canvas

Size: 20" x 16"

Price: SOLD

KINGDOMS:

1. The HUMAN KINGDOM: Mankind need to understand that he was born into this earth encased inside molecules and atoms right from beginning time. It's very important for him to treat his surrounds with sister and brotherhood for him to walk on this fine balance of Natural Life. If he allows some species to die, part of him dies also.

2. The ANIMAL KINGDOM: Human world, Spirit world and the Dream World, think all levels of why were here. The animals serve as messengers and hold companionship to all kingdoms, the all have something to say towards our exisitence.

3. The PLANT KINGDOM: Every plant holds the secrets of medicine's on Mother Earth, this medicine is used towards a living in balance and survival. Everything that a KINGDOM will do connects to the stage of plants because these are the first living organisms born before man. ( just think ).

MISHIBINIJIMA'S Teaching Concept # 11: THE SEVEN GRANDMOTHERS OF THE BEAR CLAN

2010-02-24T11:11:00.000-08:00

Title: THE SEVEN GRANDMOTHERS OF THE BEAR CLAN

Medium: Acrylic on Canvas

Size: 20" x 16"

Price: " SOLD "

SEVEN GRANDFATHER OF THE BEAR CLAN

Who protects the Seven Grandfather teachings while people are asleep from listening.

NOTE: I'll be painting more Eagle and Bear Clan paintings over the spring season, these paintings will be on commission only and same size and price frame, first come first serve.

MISHIBINIJIMA TEACHING CONCEPT # 10: " SPIRIT OF THE SHAKING TENT " done in PIctograph ( SOLD )

2010-01-12T10:06:00.001-08:00

Title: Spirit of the Shaking Tent - ( SOLD )

Medium: Acrylic on Birchbark mounted of wooden board" ( Float Frame )

Size: 14" x 29" = 35.5 cm x 73.6 cm

Price: $ 1800.00 ( SOLD ) Shipping included too anywhere in the world.

Spirit of the Shaking Tent: It's very important to spiritual cleanse your mind body and spirit after any ceremony, our bodies can bring anything back from the spirit world. There's a ceremominal process explained through this painting.

This is my last remaining birch bark painting to my collection and my mother had the birch barks in storage for more than 20 years which means the birch bark paintings I created from that supply are well cured, It's time for another family to enjoy this original. james.mishibinijima@gmail.com

MISHIBINIJIMA'S TEACHING CONCEPT: LEGACY

2010-01-08T19:34:00.000-08:00

Title: Legacy

Medium: Acrylic on Canvas

Size: 24" x 30"

Price: SOLD

Legacy: Elders use to talk about the Great Fire of Manitoulin and it " hidden cultural secrets " that were placed inside a cave on Manitoulin Island during the 1600's and said, " a child will find these secrets when the time is right."

This is the image I seen while I was talking to this gentleman about " Mishibinijima painting the Legacy of the Late Norval Morrisseau." You painting the image of "Pope John Paul II" and just wondering if you can paint the Morrisseau Legacy?

As I let this gentleman talk about this idea, image of a Sacred Cave filled my mind and felt very important to walk into my studio as I let my sacred Smudging bowl.

As I sat in my studio, a vision of a Buffalo entered my mind as it slowly turn bright as snow and knew this was a very important moment.

I decided to add a little color as the canvas became to life and started to see a clear vision on what I need to do to complete the " Legacy of Norval Morrisseau."

I always felt that Norval Morrissea played a giant part of bringing this sacred art into the open while teaching the children around him " answers to the future if you want them." all you have to do is just listen to yourself, only you know what you want.

I think parts of the Scared Cave released some of it's secrets because we all see them through color painted by Native Artist of North America, again, all you have to do is look, see and listen to yourself if you want Mother Earth.

The Scared Buffalo symbolizes the next generation and the tree seedling thats tied down represent "safe passage" we call " WAUM TUG ZEE" in our Native language, these ancient trees still grow along the shores of the great lakes and most were chop down because of cosmetic reasons to the property owners. But I formed the Wam Tug Zee into a Copper Thunderbird, Norval Nishinaba name.
I myself played in that next generation and probably have a good ten to fiftenn years left and the Great Spirit willing, Morrisseau began with a seed that flourished into this tree of color where everythings revealed and know, the Secret to harmony with Mother Earth is painted by this new generation everyday and there's no stopping now, it's breathing on it own.

NOTE: I wish you people who hide behind annonymous e-mail don't take such a cowardly approach towards your concerns on Morrisseau's originals, if you suspect fakes out there, take the necessary steps to approach and challenge these people, when your asking me about Morrisseau's artwork, I only said hello to this gentleman in 1970 and thats about it, Canada never took part or supported what I did internationally, what do I owe to the Canadian Art Collector, I only take deep care of Mishibinijima's Art Collectors which are in my inner circle of who I am after all, these are the people who made Mishibinijima is what he is and make sure they treated in the best ways possible. I'm sorry for your Morrisseau's art collections and have nothing to do with it and I never did.

MISHIBINIJIMA TEACHING CONCEPT #8 " THE GREAT LAKES " done in Pictograph

2010-01-07T07:38:00.000-08:00

Title: THE GREAT LAKES done in PICTOGRAPH

Medum: ACRYLIC ON CANVAS
Size: 20" x 30"

Price: $ 8,000.00

THE GREAT LAKES: Traditions and Language is the law to live by this great land known as North America, all mankind who live and use this land must listen what's being in another level for him to understand. He needs to think, how did these great nations live towards co-exisitance with nature and how did they communicate. All these questions are answered through the symbolism of the pictograph which are found written on Birch Bark, Animal Skin and Stone. This image illustrates the importance of the Great Lakes which feeds into North America. We need to understand from the dawn of man, we lived close by the waters edge to survive, and some years back I heard the village elders speak, one day people will fight over the great water where one person to distroy it. It takes thousands of years water to clean itself, we don't have no magic pills that we can throw into any freshwater basin and letting it clean itself.

MISHIBINIJIMA'S TEACHING CONCEPT #7: BELIEVING - SOLD

2009-12-30T21:17:00.000-08:00

Title: Believing

Medium: Acrylic on Canvas

Size: 24" x 24"

Price: $ SOLD

BELIEVING: I once attended a Native Art Festival on Manitoulin Island where a Sunrise Ceremony was being conducted by a Medicineman from Wikwemikong and over-heard a phrase, When using the Scared Smudge, " believing is the most important thing to do " and didn't quite understand: believing in what or in whom.

I approached SAM to ask him that question who slowly looked at me and said, I want you to believe in this as he pointed to my chest, the sacred light you carry inside you is the only thing you take into the spirit world and the Sacred Smudge helps us to keep that inner light pure and just believe and " believe in yourself ", only them the Sacred Smudge will believe in you.

This reminds me of two events that happened in my life.

1. Canadian art representatives came to our village during the early 70's and to ask if the local artist can attend an art camp thats being set up that summer and felt excited to give my interview. When I was done and told me they wanted artist and said I was no artist.

So I picked up my papers and told the gentleman " I'll show you " and never looked back and why to this date I don't consider myself as a Canadian artist again, just "Believe in yourself."

2. During one of my travels in Germany where my European managers were conducting a solo art exhibition by Munich 1998, our Canadian Ambassodor approached me and said, I see your spending allot of time in Germany with your art and like to warn you. If you say something against the QUEEN OF ENGLAND, will take your passort away. I looked at him in the eye and responded, I don't know this woman and have nothing to say against her.

My managers turned around too look at him as he started to walk away, "what was that all about" and told them " I don't know. "

Germany and the world knows what your people are going through in Canada and not surprised by that comment. ( thats crazy especially from the government, ) he said.

From time to time I think about this man and know deeply he thinks about me also, especially when there's other people who understand and speak english around him that time and wonder what was his true intent by making that statement. Is that our Canadain Democracy? or Democrary for the chosen few.

MISHIBINIJIMA'S TEACHING CONCEPT #6: NATIVE CULTURE'S DEEP ROOTED IN CANADA

2009-12-23T11:10:00.000-08:00

Title: NATIVE CULTURE'S DEEP ROOTED IN CANADA

Medium: Acrylic on Canvas
Size: 24" x 24"

NOTE: The center dotted lines are pictographs meaning " journey ". I'll be using more design work in this concept and need to listen with an open heart and after all, this is the first written language on North America.

NATIVE LANDS: I came across this teaching many years ago through an elder who had a cherry orchard and was my neighbour growing up.

Many years ago this elder spoke about the four elements of Earth, Air, Water and Fire.

One day these four spirits of Earth, Water, Air and Fire will become one Spirit and unite to cleanse Mother Earth and to a certain degree, man wil not have a say during this great cleansing but he start the cause of it.

You see our lands understood our langauge and ceremonies to worship, all we did was phrase to life around us but this new man came along and called the land it's own.

This new man will not understand the land and pass the pictograph teacings that we wrote on Stone, Birch Bark Scrolls and Animal Skin which these play a very important role towards the future generations about spiritualizm and survial.

These new people will be great teachers in how to live against Mother Nature and all the living things around her, his culture is distruction which Mother Nature will send signs in what he does but these warning will come un-noticed.

The first sign coming to him will be the sign of water getting sick and others signs will follow as this man will get sick also.

He will create dumping grounds around his home as sickness will take over the way he lives and not respect his fellow man as this man will become strangers towards each other.

His teachings began when I accidently broke off a cherry branch from one of his cherry trees from his orchard. I was scaling his fence which was in lined with the cherry trees as I came down the other side, that when I accidently broke one and the voice said, did you hear that young cherry tree scream with pain?

I slowly looked up and said, I think one small branch will not matter in your orchard and relpied.

You need to listen from another level, our actions will reflect future generations and man has limitations in what he does.

james.mishibinijima@gmail.com

SACRED MAT

2009-12-10T07:10:00.000-08:00

Title: THE SCARED MAT
Medium: Acrylic on Canvas
Size: 32" x 32"

THE MAT: The teaching of everything is to keep your plate clean as possible, the sacred mat ceremony offers the tools needed. I've talked to many native healers in the past and always comes down to that one topic, keep the mind pure in what you do.

MISHIBINIJIMA' S NATIVE ART and TEACHING CONCEPT # 4

2009-11-30T11:35:00.000-08:00

Title: Garden of the Prayers

Size: 30" x 36"

Medium: Acrylic on Canvas

Price: SOLD - james.mishibinijima@gmail.com

Garden of the Prayers: Everything is said within ones self, read the old teachings of the native people, we connected to our creator and lives inside everyone of us, all we have to do is, keep your inner spirit clear and well let, don't let your spirit walk through darkness.

MISHIBINIJIMA'S NATIVE ART AUCTION and TEACHING CONCEPT #3 - Closed - Dec.15 / 09

2009-11-17T21:08:00.000-08:00

Title: THE SACRED FIRE PIT
Medium: Acrylic On Canvas

Size: 16" x 20"
Price: SOLD

Title: INNER SPIRITS

Medium: Acrylic on Canvas

Size: 16" x 20"

Price: SOLD

MISHIBINIJIMA'S NATIVE ART AUCTION and TEACHING CONCEPT #1 Closed - Nov. 26 / 09

2009-11-12T18:59:00.000-08:00

IMAGE ONE and DISCRIPTION

Title: ANGELS

Medium: ACRYLIC ON CANVAS

Size: 16" x 20" and 16" x 20"

Price: $ SOLD

SPIRIT ART: MISHIBINIJIMA-SPIDER MEDICINE PROJECT

2009-09-12T09:51:00.000-07:00

1. Turtle Island: Acrylic on Canvas - 30" x 20" - Turte Island was born through water and everything else around her. To change the state of water means that mankind is changing the way life forms.

2. UNITED NATIONS: Acrylic on Canvas - 30" x 20" - This enity need to become one to be united with all people.

3. The Four Nations Of Mankind: Man comes in four shades of color but the life giving blood comes in one color. We need to look beon the color of skin. - 30" x 20"

4. The Sacred WOMB - Acrylic on Canvas - 30" x 20" - A bright light from the outer world shines strong towards the inner world of the Scared Womb where all life began. ( more )

for mankind.

SPIDER MEDICINE PROJECT -

Project: 2006 - 2007

MISHIBINIJIMA"S NATIVE ART:: SACRED SMUDGE ILLUSTRATIONS - 2000 - 2006 completed

2009-04-01T12:30:00.000-07:00

Title: Sacred Smudge Illustrations with Cover
Medium: Acrylic on Canvas and Acid Free Paper
Size: 30" x 20" paintings
Project - 2000 - 2006
Price: $ 120,000.00 with copyright.

Mishibinijima is on the process in publishing the sacred smudge medicine guide, this book will explain which types of medicine to harvest and a short explaination for each medicine plant, the book will be sell at $ 150.00 each copy.

When the Eagle Lands on the MOON, Native people will teach the world how to live on Mother Earth. . . Copyright: 12-12-2008 - RAMEY- MISHIBINIJIMA

2008-11-21T16:12:00.000-08:00

There is a native prophesy born in the Trail of Tears: When the eagle lands on the Moon, things will begin to improve for native people. When the eagle landed on the moon in 1969, ancient ceremonies in traditional cultures were remembered and renewed throughout the globe.

In North America, the spiritual elders of tribal nations travelled to the east to teach the ceremonies and share their knowledge. It is in the East that tribal nations first met the arriving Europeans and were the last to recover from the impact. For forty years, the revitalization of native culture has taken on an astounding momentum that has been barely perceptible to the modern society.

Civilization is defind as the language, art and consciousness of a people. Consciousness is defined as the way in which humans know, language informs this consciousness. Art is the universal language of abstract symbolism that holds the meaning of this consciousness.

In 1962, the , the Anishnaabe - Ojibwe artist Norval Morriseau, delibrately broke the ancient taboo of his culture and revealed the following generation to provide the meaning of their symbols in their paintings.

These symbols are the mnemonic device for a written form of language incised and crossed - hatched on Birch Bark Scrolls and hidden in hollowed logs far west as Denver, Colorado and far as Newfoundland. They are also painted on the precambrain rock face of the Canadian shield for thousands of miles.

Over five hundred years ago, a foretelling of devastation arrived in the east, began a migration of thousands of families from the Atlantic seacoast inland to the Great Lakes territories. The western location given was simply: Where the food grows on water. This is the wild rice region of Wisconsin.

Today, eastern tribal nations known as the Wabanaki - The people of the dawn - who sent their sacred bundles and teachings inland to be protected until called for their safe return. The Anishnaabe travel east to the territories that incuded Norhern Maine. South Quebec, New Brunswick, Nova Scotia, Prince Edward Island and Newfoundland.

These symbols within the teachings piece together the history, migration, and consciousness of the Algonquin Family of Nations. The meaning in these symbols communicates a knowledge that includes the practical and metaphysical natural science of human consciousness, distilled to a simplicity and refinement.

Science man be the easiest analogy to make in introducing the meaning contained within the symbol to those outside of it's culture. As LAO TSU warned in the texted known as the Toa Te Ching, " THE WAY THAT CAN BE TOLD IS NOT THE ETERNAL WAY." but the symbols inform the consciousness of a natural law more encompassing that rational science alone can prove.

The cause and effect principles of Cartesian Physics have advance human achievement in science and industry. By isolating and fragmenting smaller and smaller particals, the manipulation of these particles has been determined. But when subatomic particals were able to be seen. They appeared to vibrate randomly and chaotically beyond human control. Humans could not manipilate the movement of particales, but the most important discovery may be that humans have been proven to influence their movement. When the scientist behind the microscope was changed to another scientist, the movement of the particals also change.

The realm is familair territory to Native Spiritual elders. The Natural law of the universe is understood as a vastness in which human behaviour influences the vibrantional alignment of the universe and all the life on Earth, including the animate and inanimate. Our relationship to the universe is interconnection and interdependant as an extended family.This consciousness is not a sentiment but a trained and disaplined awareness that is felt within the human being. The alignment of human beings to the universe is the science of Native Spiritual Tradition.

When quantum physicists reported that subatomic particals move randomly and chaotically in space, Einstein declared " God does not play dice with the universe" Native elders would agree with him on this point. Native traditions and ceremonies are the science and disapline of expanding human consciousness to natural law within the universe. When facing the unknown and unfathomable, a natural science orients human beingness to the earth in four directions: The electromagnetic wave of life forms. The invisable life force wiithin them, the gravitational pull on the earth and the eliptical orbit of planets around the sun. All of these forces are taken into account in the rocket science that landed the eagle on the moon, and all of these forces are taken into account in ceremonies.

In anishnaabe painting which is the sole domain of spiritual elders in Anishnaabe tradition culture, the symbol of the circle denotes perfection, completeness and continuity. A simple dot represents: Manitou (spirit). When science discovered that the balance of carbon and oxygen nuclei is so fragile in supporting life that they wonder if human life was designed into the creation of the universe. The dot communicates that the Anishnaabe have asked this question and answered yes. They refer to natural law as the original instructions created in the creation of the universe to balance human conduct with this law. The symbol of a circle with two perpendicular lines inside of it is refered to as the medicine wheel.

When philosophy seeks the first principle of creation and askes if something can come form nothing, ancient native knowledge answers" Something comes from nothing and nothing is the Creator of all Creation."

The meaning of Anishinaabe symbolism expressed by modern Anishinaabe painters is the ancient science and knowledge that informs human consciousness and conduct when faced with the unknown. This becomes an urgent message in the beginning of the twenty-first century. The rational objectivity of modern societies and educational systems collapse in the face of natural science which can be influenced but not manipulated. The protected domain of isolation and fragmented nations face the earth's response.

We live in a global village of connected relationship to each other. The earth and the universe a life an extended family. The electromagnetic wave force within life forms, whether animate or inanimate, upon the earth, is held by the gravitational pull upon a rotating planet that moves elipically around the sun. When human beings align themselves within the natural law of the natural universe, the sensation resonated as joy and love.

As human beings enter a new century after the previous century that brings the earth to ecological crisis. ancient meaning and knowledge shifts into a position to address the imbalance of human behaviour to natural law.

The anicent traditions and ceremonies which inform and discipline human concsiousness to the vast expanse of the universe while orienting human beings to the earth has become required knowledge. The influence which aligns the vibrational universe proves scientifically rational.

It is the time of cleansing when the earth will cleanse itself through fires, floods and earth quakes. This native prophesy ocurs simultaneously with the new beginning when human consciousness expands to understand the meaning of ancient knowledge, tradditons and ceremonies.

When the Eagle Landed on the Moon in 1969, the Message and Vision was, "Spirit and Love was delievered to the Grandmother the Moon who controls the tides, fertility and seasons upon Mother Earth". Forty years later, the earth responds even more urgently as human conduct remains unsustainable. The symbols of a natural science communicates the earth's response and their meaning communicates how to realign the balance of a natural law.

This is the conciousness and language of the Anishnaabe civilization and it is communciated in the universal language of Anishnaabe symbolism.

Painting has been communicating tool of Anishnaabe spiritual elders and remains so, to this day. We look to the paintings of these artist to orient and give meaning to human beings upon the earth as the twenty-first century dawns.

Anishnaabe Art, Meaning and Knowledge - Copyright - 11-10-2008 - Ramey - Mishibinijima

2008-11-21T08:16:00.000-08:00

The form in Anishnaabe Art is an outline that is penetrated to the view of the spirit that is invisable. This reveals the essential core of meaning, conveyed in a symbolism that is ancient.
In 1962, the Anishnaabe -Cree artist Norval Morriseau broke the ancient taboo of his culture and revealed these symbols outside of this tradition. In doing this, he communicated to the modern world and inspired the next generation of Anishnaabe artist to reveal meaning in these symbols.
The strong spirituality of this meaning too root in the scared island of Manitoulin, the largest freshwater island in Lake Huron. The Great Lakes Water Basin washes through the limestone rocks of Manitoulin which provides a natural water filter to the lakes. Voyageurs regularly interacted with the tribal nations surrounding the Lakes and the Anishinaabe were aware of European Culture long before European settlement had reached them. When disease was introduced, Manitoulin was burned and left fallow for serveal decades to cleanse it from diseases.
Manitoulin became the strong-hold and home for the Anishnaabe when forced removal and relocation of tribal nations became Federal Policy in the United States in the 1800's. In the war of 1812, when the United States planned to invade Canada and sparse british forces were spread out across the Canadian border, it was the Ojibwe who gathered and stopped the Americans. The Ojibwe decided that United States policies had reached far enough.
The island of Manitoulin which lies within present dat Canada, remanins sacred. It sites, culture and traditions continur and are communicated by Anishnaabe artist within a traditonal disapline of knowledge. When a painting of Morriseau's was delivered to the outside painter of abstract modern symbolism, Pablo Picasso's works were " well, you never know." the sophistocation and dept of Morriseau's work was an unexplained revealation.
Modern Anishnaabe artist, especially in Manitoulin communicate a perception and knowledge that transcends science and culture as we commonly understand it. The European roots of modern abstraction finds itself at a loss for comprehension when the vast. dynamic realm of meaning is revealed in Anishnnabe painting.
Subline simplicity is relegated to primitivism, but Anishinaabe symbolism is no more primitive that the simplicity of E=mc2. The frontiers of modern science has just begun to glimpse the universe in ways in which the Anishnaabe perceive and are familar with it.
An intelligence found to exist outside the human skull that communicates in a reciprocal relationship with human beings in the natural territory of Anishinaabe painters. The Quatum realm that is influenced but not controlled by human intervention is the natural science of Anishnaabe tradition.
Morriseau's first exhibition in Toronto in 1962 sold out, even though it's organizers and buyers did not know the meaning of his symbols. Morriseau touched the modern consciousness in a language of symbolism that predates christianity by thousands of years. Modern Anishnaabe painters sell their work internationally in major art collections and continue to communicate a consciousness that is elusive and penetrating.
Morriseau's work was held as a fine example of primitive art even in Morriseau's obituary in 2007, and even as the symbolism resonates within us without us knowing why. The generation of modern Anishnaabe artist who have matured in the traditions of ancient meaning stand ready to share this meaning.
They reveal the earth's response to the industrial era. They communicate the spiritual response to the modern human dilimma. They are able to orient us to an invisable life force, within the gravitational pull and electro-magnetic wave movement of a rotating planet earth that orbits the sun eliptically.
Their ancient perception and their symbols of meaning are ready to guide the shift in human consciousness that is occuring as we enter the twenty-first century. The knowledge distilled over millennia's has cleansed itself of excess baggage. It is the ZEN of living on the earth. It is an awareness we can barely conceive of. It's meaning is revealed to the modern world as modern systems begin to collapse in the face of ecological unsustainability.
In the twenty-first century we are faced with the opportunity to expand human consciousness through the knowledge revealed in the powerful communicating tool of the ancient spiritual knowledge of the Anishnaabe which is painting, there is a native prophesy.

" The Return Of The Sacred Teachings Within The Algonquin Family ". Copyright 11 - 10 - 2008 - RAMEY- MISHIBINIJIMA

2008-11-20T20:10:00.000-08:00

The Anishinaabe comprise the nations of the Ojibwe (Chippewa), Odawa ( Ottawa), and Potawatomie ( Bodawatomie), whose territory is now the Woodland Great Lakes.
Ojibwe legends tells that their nation began in the east, in the Atlantic maritime woodlands where the Wabanaki now live.
It is said that a warning of devastation to arrive in the east, just over 500 years ago, led to a massive migration inland to where " the food grows on the water," which is the wild rice of Wisconsin.
Families travelled in large canoes by the thousands and those who remained in the East to tend the Sacred Fires, sent their teachings and Sacred Bundles inland for protection until called for again. The migration followed the waterways from the Atlantic into the Great Lakes.
In the forced relocation acts of the 1800's, the Ojibwe hid and formed alliances with the Odawa and Potowatamie. As relocation continued, the traditional enemies, the Sioux, were forced west into the Prairies by the Ojibwe. The Iroquois were forced north from upstate New York and divided the Anishnaabe from the Wabinaki.
The east, as prophesized, was the first to meet the Europeans and the last to recover from the impact. It is 500 years later that the Wabanaki began to ask for the return of their Sacred Bundles.
It is as distant cousins who have never met that the Anishnaabe and Wabanaki reunite. The teachings protected by the Ojibwe were originally incised and cross-hatched onto Birchbark Scrolls and buried in hollowed logs that have been found from Newfoundland to Denver Colorado.
The symbols on the scrolls form a mnemonic device for a written form of language. Some of these symbols are included in the pictographs and petroglyphs that are found on the precambrian rock face of the Canadian Shield.
Painting is the sole domain of those spiritual elders trained and disciplined in the sacred teachings. The pictographs and petroglyphs are their signals.
As the Anishinaabe and Wabanaki reunite to complete the history and continunity of the Algonquin family of nations, the signals on the scrolls and rocks help to guide them.
The Anishinaabe have preserved the sacred teachings and continue the sacred rites of these teachings continuously without interruption since 1812.
The Wabanaki whose sacred artifacts were taken even from graves of their dead, survived through sheer resilence and were informed only by way of their dreams, visions and spirit.
The spirit of the Wabanaki is mystical, loving and enlightened. They contribute this spirit to those who now return to them with the teachings and Sacred Bundles they have protected, as promised over 500 years ago.

The ultimate Art Collection: Sketch books of Mishibinijima - 1969 - 2008 - ( SOLD )

2008-11-05T12:26:00.001-08:00

I just had a visit from a major art collector asking how much would all these books cost and said I bet there into the millions. The other trunk filled of sketches they heard about was artist Daphne Odjig sketches.My sketch books started at the age of 14 and everyone one of them became a painting.

MISHIBINIJIMA'S NATIVE ART: The Native American Holocaust: SOLD - Sept.17,09

2008-07-12T19:49:00.001-07:00

NATIVE AMERICAN HOLOCAUST: A very dear friend a major Mishibinijima Art collector asked about the legend to this painting yesterday remembering when we did on movie digital camera, the voice part wasn't turned on but need to full fill his request.

A vision of the Native American Holocaust started being quiet before entering a blood soaked cobble stone entrance which lead into a room.

I entered this adjacent room where where yellow reddish walls reflected the images of a giant seven headed serpent with two spirits standing side by side which was the Spirit of the Bear and Eagle, these two other spirit were half man and half beasts trying to duel this great beast.

Bear and the Eagle were soaked in their own blood trying to get a handle of this great beast and every now and then each spirit screams as the serpent takes hold with a bite on the shoulders and chest.

I stood at the entrance and just marvelled what was happening but noticed at the same time, the bear and the eagle were hiding from each other but the serpent knew what he was dealing with.

I spoke to my elder mentors and a catholic bishop about this dream and both came to a same conclusion.

This vision illustrated are the steps of mankind's own Armageddon, The seven headed serpent represents the tribes of the middle east or the countries of the middle east medicine people said and each will stand up to the Great Bear ( RUSSIA ) and the Great Eagle ( UNITED STATES ).but each will not exactly see each other.

The Great Spirit gave me these visions for a purpose and why I do art, I need to bring them out into the public and truly up to mankind if he wants to listen no matter at what scale, my part is complete when I sign that painting. - MISHIBINIJIMA - 2011

Original in the Vatican - Few prints available ( approx: 23 )

2008-07-12T10:57:00.000-07:00

Pope John Paul II Vision Statement

My first vision of Pope John Paul II happened during the summer of 2003. In my dream, I was walking in a cedar forest with the fresh scent of evergreen all around me. I came upon a light shimmering around the bend. I entered through a small opening in the cedars. And there sat His Holiness, Pope John Paul, who spoke to me saying, " where is my Rock James?" I knew what Pope Paul meant and from the heart I told him that he'd be my next project and that I'd try to finish it as soon as possible. I don't have too many footsteps left on Mother Earth", he replied " and I want you to work with light ". I told him that I knew exactly what he meant and I would do it.

Two weeks went by and kept thinking about concepts and how to use light for my painting. I pictured the shore of Manitoulin and looked upon the land and in the picture I could see a full moon over the shore and knew that this was perfect.

MISHIBINIJIMA'S NATIVE ART - SEVEN GRANDFATHERS - SOLD

2008-07-11T16:16:00.001-07:00

SPIRIT ART: Pictograph of "The Lost Wampum Belt" - Available

2008-07-11T12:32:00.000-07:00

Note: How can this Wampum Belt be lost if I know where it is, but, that's what historians call this belt who can't find it.

SPIRIT ART: Pictograph of "Man and Woman " - SOLD: Oct.23,2009

2008-07-11T12:27:00.000-07:00

SPIRIT ART: The Hiding Place of Great Secrets in Manitoulin - SOLD: Oct.23,2009

2008-07-11T12:25:00.000-07:00

Native American Art by E.C.LEWIS - Copyright .4.22.08

2008-05-29T07:04:00.000-07:00

Western civilizations lies rooted in the medieval disciplines of Europe tied back to Egypt, Greece, and the Roman Empire, and developed to their fullness in the of the Renaissance Era. This period in the sixteenth century coincides with the European discovery of the America's, when the European feudal cities oraganized as powerful nation-states and the Christian Catholic Church has organized its influence of declared Christian values.

This peak of European influence met the civilizations of the America's and the pristine natural resources of two continents just five-hundred years ago. At the dawn of the twenty-first century, the post-colonial Eurpean influence faces practical challenges of survival and a stubborn superiority of ideas and beliefs that continues to dismiss the wisdom and traditions of those indigenous civilizations which evolved not in five or ten centuries but over millennia and remain rooted not to medieval Europe but to orientation upon the Earth, located within the web of the cosmological universe, with a sense of time oriented to the eternal.

Obstacles to comprehending this orientation lie in the deeply ingrained European concepts which include, for example: TIME, PROGRESS, PRIMITIVISM, PANTHEISM... which has become assumptions referred to and assumed to be collectively understood. To strip these concepts and theories to their medieval roots and examine them in comparison to the understanding of Native consciousness requires more knowledge than the Renaissance could provide. Modern anthropology defines civilization as the language, culture, and consciousness shared by a group of people. Native consciousness in this reference is the indigenous consciousness of North America although as Native North Americans tell us correctly, five hundred civilizations resided on the North American continent in the sixteenth century.

Within five hundred years, three important developments in European consciousness have soften hard core European beliefs: one is Galileo's truth that the earth is not the center of the universe; two is Darwin's theory that man is not unrelated to the Earth but dependant and developed upon it; and three is the Eastern sensibility of the direct and immediate experience of reality as in Zen Buddhism.

This knowledge equips western thought with the tools to probe its own assumptions and misconceptions and begin to correctly define English translations of Native concepts as the meaning is intended in a consciousness of metaphysical reality not as Aristotle defined it, but as in Oriental indigenous philosophy, which is much closer in meaning.

The terms PRIMITIVE, PRE-CIVILIZED, and PREHISTORY are European assumptions of societies existing before the records of written language in Europe and the Middle East. Oral societies are not illiterate-the Anishinabek of the Great Lakes have a written form of lanuage incised on sacred birch bark scrolls recopied continually into the records of the Great Medicine Society whose origins are so far back in time that the founder is simply referred to as "a young man." These symbols are also painted upon the Precambrian rock face of the Canadian Sheild in a method in which the pigment and rock are bonded inseparably. Indigenous societies are not primitive; they are primal.

To understand this compare the time line concept of human history and progress, which was invented by Augustine and accepted within European consciosness after the fourth century AD, and the consciousness that experiences time as infinity in a circular orientation of awareness with nothingness as its center. This orientation was not widely introduced to European academic thought until after WWII, with the American occupation of Japan and the 1959 invasion of Tibet, by China. But this experience of reality is close to Native consciousness and perception.

The fourth tool with which European thought may begin to comprehend Native awareness is the dawn of what has been referred to as the imformation age. The term Third World, which referred to civilizations which did not develop with the speed of the European concept of progress has developed into the term Fourth World, which refers to those indigenous civilizations which retained the knowledge avd perception distilled and cultivated within an ancestry that evolved over millennia of eras rather than centuries.

The voice of this indigenous knowledge surfaces at the height of the European concept of progress in an era in which this concept reaches the summit of its unprecedented capacity for destruction. The concept of progress derived from artificially imposed theories of linear human history is a major obstacle to understanding indigenous consciousness because it lies outside of a consciousness oriented to a circular experience of life and infinity.

The physical sciences, evolved from theories attributed most famously to Aristotle, quantified rather than qualified the Earth's elements. This scientific-rational experience of observation of the Earth misconstrues the qualifying consciousness of observation. Terms such as animism, pan-theism, totenism, and shamanism remain outside of th experience of European rationalistic terms of definition or meaning.

Animism is the quality within a natural element that transcends the sum of its physical parts. Therefore, when a human being of extreme sensitivity in Native culture is asked by a scientist educated in European rationalism if all the rocks on the beach are powerful, he is told that some are.

Pan-theism refers to the concepts of Greek cosmological thought before the development of philosophy and logic in western civilization but does not relate to the perceptive consciousness of Native North Americans in any conceivable way. Native consciousness experiences the non-duality of an intelligent universe devoid of an anthropomorphic personality. The finite phenomena which inhabit th Earth speaks to the reality of the infinite within the apparent thus penetrating the apperance to perceive the reality-which is unchanging.

Totenism is not the superstitious protection of an animal for a human being. By astute and prolonged observation it has been recognized that the clan of a human being is evident in human movement and manner. Those of a Bear Clan maneuverin a manner that differentiates itself from a member of a Fish Clan. Anyone can observe this when they are taught to see it. By prohibiting intermarriage within a clan, a civilization retains its optimum health.

Shamanisn, which utilizes animism and a mysticism oriented to the infinite and unchanging within the cosmological orientation of human beings upon the Earth, is the metaphysical realm of consciousness and perception akin to the Tantric in Buddhism. It is not a superstitious fear of the unknown but a fearless intervention of balance between human being and natural law. The path of spiritual development for a shaman in Native North American culture corresponds in discipline, sacrifice, and endurance to the term "warrior" within buddhist spiritual disciplines. The type of intervention referred to is within the realm of intervention practiced by those oriented to the Tibetan Book of the Dead, where the dying may be guided on their journey before the final breath is taken.

Native North American shamanism is communicated and developed by direct oral transmission as in Buddhist tradition, but differs in cultural expression, of course. The art and ritual of Native North American civilization share some similarities of consciousness and many cultural differences as well. What is important in the understanding for European styled societies when relating to Native North American societies is aptly expressed by Erich Fromm in his book The Sane Society:

"No sane society can be built upon the mixture of purely intellectual knowledge and almost complete absence of shared artistic experience....On the whole, our modern ritual is impoverished and does not fulfill man's need for collective art and ritual, even in the remotest sense, either as to quality or its quantitive significance in life....

"What are we to do? Can we invent rituals? Can one artificially create collective art? Of course not! But once one recognizes the need for them, once one begins to cultivate them, seeds will grow, and gifted people will come forth who will add new forms to old ones, and new talents will appear which would have gone unnoticed without such new orientation." (p.349-350).

Erich Fromm's evaluation for a sane society is already addressed in Native culture in North American. By correctly defining the terms we use to describe Native art and ritual, we are already supplying the means within the open door of art to perceive collectively and fulfilling the North American collective experience. Modern Native artists continue to communicate ancient Native consciousness. This consciousness is the expression of perception that penetrates the appearance of natural form to reveal the unchanging infinite. In the words of Native North Americans it is to see the Creator in Creation.

The Creator is not perceived as an anthropomorphic god but the permeating intelligence of the universe, deviod of human personality. This intelligence is seen to reveal itself not in prophets, written laws, or sacred writing but in the natural forms and natural balance of all creations, including man. Therefore, every leaf, rock, tree, river, bird, fish, animal, human, star, sun, moon, and planet are sacared. The Earth, and all that inhabits the Earth, is scared.

This metaphysical conscioueness is able to adapt to various history-based religions but the creeds of history-based religions may not easily expand to the consciousness that encompasses the orientation to infinity that traditional Native societies are culturally oriented to. The infinity in which the eternal is experienced in the moment that is now, is the sudden realization referred to in Zen Buddhism as enlightenment, and is the awakening produced within Native North American rituals. These rituals though known, cannot be explained in words; they must be experienced, just as meditation must be experienced , to be understood.

In this light it can be seen that the oral cultures of North America are not pre-civilized or primitive. Native societies are spiritual civilizations in the highest sense of the term civilization necessarily entails by European defination. Spiritual societies live in necessary simplicity. The collective sharing and specializations of Native North America pre-contact societies average a twenty-hour work week for it's memebers; this allowed the spiritual and cultural development of those traditions which Erich Fromm discribes as necessary for the sane societies and which modern purely rational society now require. It is our own assumptions which have blocked our understanding.

ART

The art of civilization is a respectful door to open to cultural awareness and expression. If we continue to assume that native culture has been lost or Native people have vanished, we make it impossibe to receive the gifts of those civilizations. To look back upon these civilizations and project a European rationalism is to mass a current message that Native artist are perfectly capable of giving meaning too.

Native North American consciousness has witnessed the arrival of European consciousness. Native consciousness has observed European rationalism and its value of intellect and merchandise for over five-hundrend years. The orientation to the infinite has endured the physical onslaught of immigration of millions upon millions of human beings into the geographical territories once inhabited only by Native people. Native North America culture has survived by remaining invisable: it has endured European concepts of ownership, history-base religion, policies such as Manifest Destiny, ingrained ideas of progress, and modern civilization resulting from industrailism. It has adapted in stages to resisit disease, warfare, assimilation, removal of cultural artifacts, removal of children from their families, and the removal of their ancestors for the graves.

The European rationalism continues its course we may observe it from the perspective of Native North Americans. The concept of progess which has led to water too poisoned to drink, land unfit for human habitation, and air that is too unhealthy to breathe, is the definition of insanity in Native culture. The element of fire has been intelligently manipulated to produce engines of transportation, manufacture, and destruction, which are impressive but reason would suggest caution and discipline in its use. While European rationalism wages current wars of ideologies, Indigenous populations pray for the healing of the Earth, especially the water which is the natural element with which to sustain life.

Human caution and discipline in the use of fire is developed in a consciousness that transends intelligence and awakens reason. Therfore a concept of ownership of divide portions of the Earth, which allows for the indiscriminate and manipulation of the Earth's resources to the detriment of the Earth's inhabitants, is not considered reasonable or intelligent in Native consciousness. It is not considered civilized for a fraction of the Earth's human population to consume or waste a majority of the Earth's resources. The natural balance observed in natural phenomena simply does not tolerate the imbalance of European rationalism.

The term scientific-civilization, applied to the twentieth century, stands outside of the understanding of balance. The duality of good and evil is transcended because good and evil is conceptual-dependant upon a point of view-while balance and imbalance are immediate referances with practical, non-conceptial influence and remain observable in every civilization of every era. Therefore laws of balance and imbalances sustain natural laws of the universe which remain infinate and absolute. The harmonize human conduct with the infinate laws of the universe is to develop a consciousness of extream sensitivity and adaptability that does not linger in realms of consciousness that entertain projections into the future to detriment of the immediate, exact reality of the now. This discipline of awareness may be referred to as Zen when applied to a Japanese form of Buddhism. It may be referred to as Shamanism, for lack of a better word in English, for developed Native North American consciousness.

The highly developed consciouness born of a specific culture does not automatically translate to every member of that culture, just as not all Catholic Christians are Catholic priests. Every Native North American is a Shaman or would communicate a transcendent level of developed consciousness. It is important to know that those who communicate on this level communciate within the symbols of their own culture. If the confines of European thought dismiss what it is not oriented to understand it perilizes the understanding of meaning for successive generations. European colonial concepts may have dismissed these tools for meaning but future generations of North American are likely to require them for basic survival.

Societies which are ancient are those which have endured. Their traditions are the purest of sciences in relation to themselves and the natural Earth. When the Buddha attained enlightenment under the Boddhi tree and was asked how he knew he was enlightened, he simply pointed to the Earth. It was the very Earth that bore witness to his enlightenment. As well, it is the very Earth to which ancient, traditional indigenous societies refer when communicating the transcendent consciousness that develops relightenment reason for human contuct. Simutltaneously, humn conduct in relation to the Earth. as ot rptates arpimd the sun, within a galaxy that is only one of many galaxies, has been understood before a telescope or spacecraft was invented.

The scientific inventions which the nineteenth century has invented so prolifically also relates to the European nineteenth century assumption that all consciousness relates to a tangible physical element. This conceptualization and finite limitation led Freud to attach human consiousness to a "libido." Twelieth century European thought allowed that consciousness can exisit without attachment to a physical element and now explores intelligence that permeates the universe unconfined to the human skull or differentiated molecules. This may be the cutting edge of western science but is the traditional reality of Native consciousness for millennia.

When modern Western civilization can allow for the possibility that the Native societies encountered in sixteeth century European exploration were mystic. enlightened, spiritual societies capable of absorbing, adapting , and resisting the European mercantile and consciously primitive poplations arriving in mass hoards upon their shores with beliefs and values alien to the natural laws of the natural universe, we may begin to open to the discipline of human conduct that must develop from within the balanced sanity of individuals before it can emanate into outward action. This is the discipline that traditional indigenous have cultivated for millennia with their civilizations.

In other words, traditional societies acknowledge that change is developed from within and coerced by outside force in forms of punishment or fear. This how traditional societies have resisted force assimilation. The mastery of psychology and humor is employed as a correcting influence on imbalanced behavior. The concept of reward and punishment either immediate or delay in terms of heaven and hell are not practiced. This method of reward may serve as a deterrent but it would not awaken the essential consciousness of an individual.

Traditional societies share - whether it is food. knowledge. resources, culture or territory. If they didn't share they would not have survived. This shared culture specializes area of work according to natural talent and skill. Specialization in western civilization means something quite different: specialization in traditional society reduces the average work week to twenty hours and leaves time to develop art, story telling, and ritual, which forms the basis for the type of human development largely devoid in the modern civilization of our time and which humanist such as Erich Fromm observe to be missing-and missed-by human beings. To open to the wisdom of traditional. indigenous cultures we simply observe the assumptions upon which modern society has developed and allow for the introduction of their meaning to be objectively defined.

This introduction is mot readily available through the universal language of art.Native art is no tprimitive, but primal. To separate Native artifacts for the cultures which have poduced them is defined as a form of genocide in the 1948 UN Declaration of Human Rights. For non-Native propulations it has removed meaning from the collective artifacts Moden Native art, produce within the enviroment of Native ulture, retains the meaning rooted within the ancient cultures.

By not expecting the symbolism and abstraction of Native art to conform to the developments of European Renaissance art, we can respect a parallel path of human development and lean to see, understand, and appreciate Native consciouness. The development of understanding the meaning opens our own human consciousness to a relationship to the Earth. The quantifying developments of scientific rationalism have disregarded the qualifying reasoning of indigenous culture. By opening to an understandig of the meaning inherent in the reason of indigenous culture, we open a door of humanism that the west has flirted with but not married into its consciousness.

THE VOICE

2008-02-03T04:48:00.000-08:00

The silent witness of the earth finds the voice of it's spirit in the painting of aboriginal, shamanic artist James Simon MISHIBINIJIMA , in a series of paintings titled the "Mountain Series" and "9-11." The earth as silent, sacred witness in the last voice to be heard in the aftermath of 9-11 and the ecological crisis. Art is a universal language but what is the universe theme? It is the voice that Aboriginal people have expressed for over five-hundred years as warning. It is the voice that was first introduced by Anishinabe painter Norval Morriseau, in 1962 in Toronto, and internationally in 1967, at the Montreal Expo. It is a voice expressed in symbol-a secret language of the Great Medicine Society of the Midewewin of the Anishinabek-and Morriseau broke all taboos of his culture when he broke these taboos and revealed it's images to the modern world.

Although we have learned to recognize the symbolic paintings of the Anishinabek, we have yet to understand the meaning. James Simon MISHIBINIJIMA of Manitoulin Island, leads us to this meaning and reveals the shamanic vision of Anishinabek symbolism as we face the ecological and post 9-11 uncertainly of Global proportion. It is time for the ancient meaning to be communicated to the modern world. Morriseau broke the taboos and James Simon MISHIBINIJIMA leads the way into the living meaning and vital awareness communicated in the symbols of shamanic perception.

MISHIBINIJIMA has painted these symbols in his studio for the past forty years. As a young student of the Woodland Art Studio influenced by Morriseau's break through, MISHIBINIJIMA has exhibited his prolific series of themes around the world from the Vatican, Rockefeller Center, Smithsonian, McMichael Gallery, Royal Ontairo Museum, the Colliseum and the Worlds Fair in Italy, the Moons House Art Galley in Germany, the Spirit of Sharing in Switzerland and Austria...... Now in his fifties, MISHIBINIJIMA returns full circle to Toronto, where the symbols of his culture were first revealed.

It is very important in the next millennium that man understands what he is doing to himself. For many generations the Native Elders have taught survival on Mother Earth with Harmony. Look at the Earth now, and it will remind man how far he's gone towards the path of destruction. These old teachings are written on stone and birchbark scrolls of the Anishinabek people. "If these old teachings are not available to you, just look around and see the animals, trees, water and sky. The answers occur all around us. This is how the Native people see the lands."- MISHIBINIJIMA

To observe in this way is to see the sacred and the shamanic. The "Mountain Series" penetrates the appearance of natural form to reveal the living spirit of a series of islands sacred to the Anishinabek people. The Anishinabek are the three nations of the Ojibwe ( Chippewa), Odawa ( Ottawa ), and Bodawatomie ( Pottawatomie ) with territories encompassing the Woodland areas surrounding the Great Lakes of North America.

This area was painted the Canadian artists known as the Group of Seven of Canada, in the early twentieth Century and based also in Toronto, Ontario. The group of Seven painted of the landscape by it's appearance in a post-impressionist style based upon European landscape art techniques. Mishibinijima paints the landscape in the ancient, symbolic language of the Medicine Society of his people whose beginning lies so far back in time that it founder is known as "a young man".

Comparison alone, within this perspective, is enough to create a revolution in the world of art. The exposure of ancient, sacred, secret meaning is an explosion. The "Mountain Series" reveals the shamanic perception of the shaman himself and indicates the source of this preception by placing a diamond into each canvass. Ancient tribal societies, which exist throughout the world have no financial value placed upon a diamond. What MISHIBINIJIMA expresses is the universal quality of a diamond. The flash of insight, the movement of penetration into the living spirit of the land consciously revealed, is the meaning of his diamond. What is seen in that moment is the living form revealing itself to the artist. Painting is the domain of shamans in Anishinabek society. It is the shamans who reveal in pictographs the living, breathing, communicating cosmology of the infinite universe in relation to the earth which gives birth to the recurring finite.
James Simon MISHIBINIJIMA reveals this universal shamanic awareness to reveal the caution our modern world has continually overlooked, judged as sentimental, or primitive: Mother Earth does not need man: Man needs Mother Earth. " Tribal societies are oriented to the cosmological; as modern societies erupt in violence or ecological unsustainability, ancient societies remain as witnesses to ancient teachings. These teachings realize that change must come from within. To look for rescue from without, in forms of religion, technology, or science, is to disregard the awareness cultivated within each living human being. This awareness-its, form, meaning purpose, and beauty, is the awareness communicated consciously and conscisely by James Simon MISHIBINIJIMA.

Pictographs And Their Meaning

2008-01-08T20:19:00.000-08:00

Anishinabek Pictographs are the graphic symbols which communication vast meaning. A picture is worth a thousand words and pictograghs use symbols derived from rock paintings and sacred birch bark scrolls, for these are the words which form the language of the Anishinabek people. The meaning communicated in pictographs is the deep consciousness of a perception that penetrates the mere appearance of form to expose the vital forces active within a form.

To perceive the earth as living and breathing: to perceive animal forces in conflict within a human being: to perceive an island anthropomorphicized as a human form is to perceive with a shamanistic consciousness.

The pictographs, painted for hundreds of miles across the Canadian Shield and incised on sacred birchbark scrolls of the Great Medicine Society of the Anishinabek, are the repository of the religion, ethics and history of the Anishinabek People.

Within the Anishinabek culture, painting is the domain of shamans. Their talent is not to paint the appearance of form or the illusion of a third dimension as in western art.

Anishinabek art is a tradition of revealing the inner forces active within the living cosmos. This perception is not primitive: it rivals the findings of the most modern science by millennia. For example: Darwin created a revolution in intellectual thought with the theory that the human species is ..."not separated from, but a part of nature". (Roger Lewin, In The Age Of Mankind, Smithsonian Books 1988). His scientific basis for this idea is the close observation of the biological world. This observation defies the previous ideas of man as a unique creation in the universe or man as a rational being and therefore entirely seperate from animals.

The Anishinabek observation of the natural world reveals some animal forces within human beings and also some human forces within each animal. The observation has been distilled over centuries and communicated graphically within the pictographs. The psychological, physical, emotional and spiritual dimensions within a natural form whether animate or inanamate are exposed in a language of symbolism.

This symbolism appears archetypal or primative to western culture. But we must remember that western culture is a product of European ideas. Anishinabe pictographs reveal a profound insight into the natural world and human nature. Darwin's theory of man as a part of nature, which is closer to Anishinabe consciousness than the religious and philosophical beliefs in conflict with this theory, are a tremendous reversal in the belief system of western culture. Within Anishinabe culture, Darwin's theory does not go far enough or observe closely enough.

Freud has touched upon this animal force within human beings but Anishnabe perception indentifies the type of animal and visually reveals these forces in their most dynamic expression-which is in conflict, or creation, or both. Jung, a student of Freud, developed dream interpretation to reveal these forces but Anishinabe observation developed a visual, graphic communication of these forces as well as a symbol of language to interpret and express them.

The language, legends and art of Anishinabe culture are communicated in pictographs that reveal profound meaning. Science recognizes language as crucial to the development of consciousness and culture. Consciousness is introspection and allows us to now what we know. Culture is the evolution crucial to human civilization-each generation benefits, distills and builds upon previous generations: Language communicates knowledge.

Anishinabe legends contain the religion, history and ethics of the Anishinbe people. They are the imagination of a cultural evolution that constantly develops and expands. As in all cultures man has been curious about the world in which he lives. Anishinabe legends are not mythology: they are the science of a culture conveyed in the langauage of symbols. The anthropologist Mary E. Southscott writes: "A very rich and flexable Anishinabe language makes possible the wealth of human values expressed by the legends. The legends, in their turn provide an inexhaustible mine for new graphic form which carries a message of it's own. Language, legend and art of create a circle of communication." (p.158, The Sound of the Drum: Boston Mills Press, Erin, Ontario, 1984).

The language of Anishinabe pictographs is in the details. The details convey the elements of meaning in which vast areas of the knowledge within the legend are illustrated. To understand the meaning within the pictograph, symbolic details are placed within a graphic form. This form is contained withing a strong outline. Within this " form-line" of outward appearance, the dynamic hidden forces are illustrated in a style referred to as " X-Ray." Every detail of the X-ray communicates the story of a legend.

The legends contain the knowledge of a consciousness and culture that is beyond the familair culture of the Industrial west, but communicates resonantly within each human being. Pictographs may appear to be simple, but the meaning conveyed is profound and complex.

Because we are conditioned by culture to understand meaning in terms of our own culture, pictographs can be disregarded or dismissed. To do this is to ignore the knowledge that is vital to our understanding. Consider the insights of ancient wisdom again in terms of science.

Cosmology and physics has discovered that the balance of oxygen and carbon nuclei within the universe must be so finely and precisely balanced to support life that they wonder if life itself wasn't designed into the creation of the universe. It is hard to imagine that life evolved as a coincidence or accident.

Anishinabe creation legends, like all other civilizations, consider these questions of vastness and meaning. For example: Bristish physicist Paul Davies, asks this questions scientifically: " Could it be that living observers were written into the laws of physics, or is our presence in the world merely a higly improbable accident occasioned by a felicitous conjunction of numeral values adopted by the constants of nature? The answer, depends on one's philosophical, or even theological, turn of mind. (p.238, In The Age Of Mankind).

Anishinabe legends consider this question and tend to observe " living observers" and give them a name in the Anishinabe Language: "Manitou." The meaning in Manitou is no less complex or profound than the question posed by Davies. It is more simply stated by placing a small dot into the graphic form. The dot signifies: Manitou.

The meaning in Manitou takes many paragraphs to convey. First , the "dot" communicates that the creation of life , the earth, and the universe is not considered to be an accident. The " living observer " of Manitou is often translated as spirit, but this has confused Western culture into a mistaken assumpion of pan-theism or superstition.

To understand the meaning of one dot in a pictograph, we look again to modern science for it's findings. Quantum physics and the frontiers of artificial intelligence have discovered that it is the arrangement of molecules-not the properties of the molecules themselves - that creates life, intelligence, and consciousness. This knowledge prompts Princeton physicist: Freeman Dyson, to state: " It makes sense to imagine life detatched from flesh and blood and embodied in networks of superconducting circuitry." ( p. 243, In The Age Of Mankind ).

"Superconducting circuitary" is a much closer translation of Manitou and helps us to understand why Manitou is present in animate or inanimate form. Physicist Heinz Pagels, of Rockefeller University broadens our understanding of Manitou when he states: " The Universe it seems, has been finely tuned for our comfort, it's properties appears to be precisely conductive to intelligent life " (p.236, In the Age Of Mankind)."

Science defines Manitou as " Intelligent life" as closly as any one definition is able to come to so vast a meaning. The Anishinabe word "Gitchi" is translate into english as "Great". Gitchi Manitou is more closely understood in science than in western religion or philosophy. Scientist Author Roger Lewin writes: "The more scientists discern the physical laws that govern the state of the universe, the more these laws apppear to have been established with human life 'in mind.' " (p. 237, In The Age of Mankind ).

" In mind" is the intelligent mind behind the intelligent universe: Gitchi Manitou. The meaning expands to more than human life and includes the creation of all life forms, including a living earth and breathing universe. This meaning helps us to understand why the earth is considered sacred. It is why Anishinabe legends caution human behavior in relation to how we treat Mother Earth.

This profound meaning is represented inside the form of a pictograph by a single dot. Imagine the meaning in a circle which Southcott tells us: " denotes, perfection, completeness and continuity. ( p.40, The Sound Of The Drum). The pictographs which form the basis of Anishinabe art, communicate the vast meaning and knowledge of Anishinabe culture and consciousness through the language and symbols which are ancient. The language is fluently spoken and graphically illustrated to this day.

If the creation of the universe is no accident: if intelligence is inbedded in animate and inanimate natural forms: if the cosmos is sacred - What are the universal ethics of the human being? Anthropologist Margaret Conkey of the University of Califorina at Berkeley, addresses this survey of meaning of ancient pictographs: "You have to ask, what was the social context of the art that made it meaningful to the people who painted and used these images. What was in the lives of the artist that made these images meaningful? (p.150 In The Age Of Mankind). The question still applies to Anishinabe pictographs.

The Anishinabe pictographs are painted soley by shamans, which means contemporarily in Southcott's words: "They have a mandate from the Great Spirit to paint,... This spiritual motivation is unique. It is the strongest of all motivations" ( p.126. The Sound of the Drum). Because the ancient Anishinabe languge is still fluently spoken, the pictographs answer the question of meaning and the questions asked by anthropologists, "... if we could speak ( the language), we would then know the world that our ancestors knew 50 millennia ago. "( p. 186, In The Age Of Mankind).

Language is considered by anthropologisits to be essential to consciousness and culture. Plato's phrase "loom of Language" denotes language as necessary to the formation of culture. " So central is language to our humanity that a world without words is simply unimaginable. " (p.154, In The Age Of Mankind ).

Because the Anishinabe are one of the few Native North American tribes to have a written form of language that is fluently spoken, it is possible to reach what anthropolgy has given up on ever finding in Anishinabe pictographs: " An understanding of a psychological domain that is seperate from our own and yet clearly identifiable with it." ( p. 154, In The Age Of Mankind ).

Anthropology is able to define the importance of language but has given up on being able to find it..."because, before the advent of witing a mere six-thousand years ago, human discourse simply vanished. "( p.180, In The Age Of Mankind). Anishinabe pictographs cannot be carbon dated because the pigment has become chemically bonded with the rock, but the symbols which form the mnemonic devices of Anishinabe language have never vanished and the meaning of these symbols is still retained. Believing that it is impossible to know the meaning of ancient art, anthropoloy has turned to measuring hominid brains or studying the tools and guessing at the meaning of ancient art objects. They hope to find clues to brain structures and the earliest evolution of the vocal tract for determining the origin of language. Anthropology may be unprepared for James Simon Mishibinijima's statement: "The symbols came first."

Lewin writes: "Turning from hominid remains of the tools and art objects these living beings left behind, we invoke the old proverb, 'by their works we shall know them.' The question is, how intimately small we know them? ( p. 184-85, In The Age Of Mankind). Anishinabe pictographs allow us to receive ancient wisdom true to ancient meaning. Science provides a universal understanding of the profoundness of this meaning even when it's tools are too limited to be able to decipher it. The Mathematician Jacob Bronowski has stated: " In reality science is neither a villian debasing human dignity nor the sole source of human wisdom." (p. 236, In The Age Of Mankind).

Even science faces a culture blindness. The "scientific civilization" as Bronowski charactizes the highly Renaissance influenced culture of the west, has for historically conditioned reasons overlooked the ancient wisdom of nature consciousness. All consciousness, science agrees, is embedded and developed through language. Language, consciousness, and culture provides the stimulus for ideas. The scientist William McLaughlin, of the Jet Propulsion Laboratory in Califorina, states: "The real motive force behind the advance of the world has always been provided by ideas." ( p. 243, In The Age Of Mankind). The assimilation of Native children has always prohibited the use of their language.

Anishinabe civilization can contribute knowledge to the scientific civilization which developed intellectually at the same time that it explored new navigation routes and accidently discovered civilizations it was unprepared to understand. Scientific technology is even younger, with the rapid development that is largely a product of the industrial era. Within five hundred years, science and technology have developed an unintentional crisis of global proportion by overlooking the natural world.

The fragmentation of scientific proofs and products has guided the scientific civilization without benefit of knowledge provided by ancient wisdom concerning the biologicial earth. Lewin states: " But there is one great curiousity- a potentially fatal flaw in the drive for knowledge... Our scientific sights... have overlooked something obvious and important to us: namely, the rest of the biological world.... if the search for knowledge is our destiny, then we clearly have fallen badly short of fullfilling it with our biological heritage ( p. 246, In The Age Of Man). The heritage of Anishinabe conciousness is oriented to the biological, as well as a cosmological heritage.

In this way, the meaning of Anishinabe pictographs contributes knowledge to scientific frontiers. Lewin, states the importance: "Surely, as Francis Bacon urged, humankind must be an adventurous explorer, striving for new horizons as yet beyond our sight. But at the same time we must be aware of what we are in danger of losing through ignorance in the world we already know." (p.217, In The Age Of Mankind).

From anthropology, in which Conkey questions the meaning encoded in ancient pictographs and the lives of the artists who painted them, to the state-of-the-art questions of artificial intelligence, to the words of philosopher Daniel Dennett, of Tufts University: "Here we begin to ponder one of the most exacting of frontiers: What is mind? What is meaning? What is reasoning and rationality? (p.240, In The Age Of Mankind). Anishinabe civilization contributes meaning.

Ancient wisdom has avoided certain pit-falls in the duality that fragments modern scientific research. The quantifying formulas of Aristole, formalized by Ptolemy and grounded in academic disciplines rooted in the European Middle Ages, has provided the basis of "progress" to the scientific civilization. As this civilization advances to from the Industrial Revolution to the " Information Revolution" as Mclaughlin names the period of change, the world is faced with an enviromental crisis and the psychological ignorance of ancient wisdom.

The contribution of ancient wisdom remains encoded within the symbols, language and meaning of Anishinabe pictographs. In the words of science itself to explain this, the words of Princeton physicist Freedman Dyson, are borrowed: "This unimagineably great and diverse universe, in which we occupy one fragile bubble of air, is not destined to remain forever silent.... the expansion of life, moving out from earth into it's inheritance, is an even greater theme than expansion of England across the Atlantic. Such is the power of mind."(p.245, In The Age Of Mankind). Dyson is speaking of the physical laws of the universe which is also the heart of the meaning contained within Anishinabe pictography. All we have to do to find their meaning- is to ask the artists who continue to paint them.

ARTIST STATEMENT

2007-11-13T06:00:00.001-08:00

The symbols within Mishibinijima's artwork are ancient; born in 1954, he began to paint in 1969, in his homeland of Manitoulin Island, the worlds largest freshwater island located in northern Lake Huron.

Manitoulin Island had become a catalyst for the revitalization of the Anishinabe culture in the 1960's revitalization movement. He returned to the pictographs and sacred scrolls because, the artists: "... have a mandate from the Great Spirit to paint, and by their paintings restore the Anishinabec to their ancient ways." (Mary E. Southcott, The Sound of the Drum: The sacred Art of the Anishinabec . Boston Mills Press, Ontario 1984).

Though his paintings are often imitated, Mishibinijima remains unconcerned; fluent in the Anishinabec language and legend, he is the living communication of these legends in graphic form.

His prolific art work develops a rich series of themes born of a pure shamanistic perspective and knowledge. Mishibinijima has illustrated a portfolio of symbols derived from the ancient pictographs found on the natural landscape that convey sacred teachings distilled over thousands of years.

These symbols communicate the legends of creation, man's place in creation, the ethics of human behavoir, the history of nomandic migrations, and the sacred poetry of Anishinabec language in graphic forms.

Remaining true to the meanings within these forms and knowledge of rich Spiritual iconography of the societies known as the Three Fires Confederacy of Manitoulin, Mishibinijima brings ancient teachings to the modern world and continues the role of the Anishinabec painters.

"To us, all life is sacred, the gift from the Great Spirit. And the Manitoulin painters particular share this view " ( p.35, The Sound of the Drum, Mary E. Southcott, 1984).

This can be seen within elements of James A. Simon MISHIBINIJIMA paintings in certain periods of his work, often containing a form line: a heavy black outline which defines and contains a secondary line or patern of anatomical delineation. The spiritual inner dimension beneath the mere appearance of life forms is visually communicated.

The two dimensional reality of a canvas is not tampered with, creating an illusion of depth and shadow during the renaissance period of European art is an example of the original meaning of the word of art - fake, as in artificial.

In stark contrast, the Anishinabe word mijiwi-izahijiganan, means " made with hands". A facet of truth is conveyed in graphic form from a perspective of the universe that is lived by a Shaman painter and derived from nature. Every detail is vitally important: illusion is not only unecessary, it is considered a desecration of the intent and sacred responsibility of the artist.

The universal perspective of nature is within the cardinal directions of the East, South, West, and North: there are Spirits of each direction that are recognized within ceremonies. Attempts to define these elements is rigorously rejected. It is the insight that is visually communicated, the truth of belief which is lived, and the guidance of the elder to knowledge and meaning that is conveyed.

To understand seeing in the way of Anishinabec art where Animism, Shamanism Mediwiwin and even Christianity is revealed in visual form and beyond definition, we may compare the Sacred Mandala of Tibetan Buddhism and it's Shamanic practice of Tantra or the visual graphics of the Shamanic cultures within Siberia, Norway, Sweden and west Arnhemland, Austrailia within the sacred, as explained by Lao Tsu twenty Five Hundred years ago in China. " The which can be told is not the eternal way ". Inner reality is the asperation of Anishinabe artists and this is undertaken with a sacred and cermonial respect and responsibility.

The dominant lines in Anishinabe art are the straight line, the curve line and the circle. The circle is perfection, completeness and continuity. Western Art is built upon the circle, triangle, and rectangle, with great attention paid to the composition within the parameters of the frame of the canvas. Anishinabe painters pay as little heed to the limitations of the edges of the frame in which the visual graphic is communicated as their ancestors would have paid to the edges of the cliffs upon which the pictographs were painted. The rocks themselves were living spirits and Mihibinijima has painted these spirits in his Mountain Series.

The abstraction in European styles such as cubism convey the elements of appearance but abstaction in Anishinabe art conveys a vision. European roots in shamanism may excite the imagination but the inner conflicts revealed in dreams and visions quests have never been lost to Indigenous north American societies.

James A. Simon MIHIBINIJIMA communicates this connection in every detail of his paintings, and to quote Maey E. Southcott once again: "It is evident that Anishinabe painting reflects and reinforces the beliefs about the meaning of life itself. No greater art has ever exisited without a great philosophy or belief to inspire it. The culture of the Anishinabe provides the ideal source for the Anishinabe Artist. (p.82, The Sound of the Drum)

MISHIBINIJIMA INTERNATIONAL ART EXHIBITIONS

2007-04-30T03:59:00.000-07:00

MISHIBINIJIMA PRIVATE ART GALLERY
432 Lake Shore Drive,
Wikwemikong, Ontario
Manitoulin Island.
P0P 2J0 705-859-3871
james.mishibinijima@gmail.com

Mishibinijima International Art Exhibitions

2011
MISHIBINIJIMA PRIVATE ART GALLERY
426 Lake Shore Road,
Wikweminkong, Ontario
Manitoulin Island, Canada
P0P 2J0 - By appointment or invitation only

PEACE ARCH DUTY FREE SHOP - November 19, 2011
MISHMOUNTAINS ART EXHIBITION
255 Hwy. 99
Surray, BC
V3S 9N7
664 - 278 - 1669

Woodland Printers and Native Art Gallery

16 Woodland Drive,

Serpent River First Nation,

P.O. # 7

Culter, Ontario

Mishibinijima Private Art Gallery
426 Lake Shore Road,
Wikwemikong, Ontario
Manitoulin Island
P0P2J0 By appointment or invitation only

2010
Mishibinijima Private Art Gallery
426 Lake Shore Road,
Wikwemikong, Ontario
Manitoulin Island, Canafa
P0P2Jo
2009
Mahdezewin Art Gallery - Murals - Diamond Series
By appointment only - 705-859-3871
432 Lake Shore Road,
Wikwemikong, Ontario
Manitoulin Island, Canada
P0P 2J0
2008
Ojibwe Cultural Foundation - Group Showing
West Bay,
Manitoulin, Ontario
P0P 1So

Mishibinijima Private Art Gallery
( Viewing by appointment and no artist interviews.) - Diamond Series always in Storage
"The Project" Diamonds and Murals
426 Lake Shore Drive,
Wikwemikong, Ontario
Manitoulin Island, Canada
P0P 2J0 - 705-859-3871

Mishibinijima Private Art Gallery
(viewing by appointment only)
Pictographs on Grandfather Stones ( SOLD OUT )
432 Lake Shore Drive,
Wikwemikong, Ontario
Manitoulin Island
Canada P0P 2J0

2007
Mishibinijima for Peace, in the Middle East: "New project"
Mishibinijima's Private Art Gallery ( viewing with appointment only )
Wikwemikong, Ontario
Canada
705-859-3871 - (Paintings- SOLD OUT )

Mahdezwin Art Gallery.
Sault Ste. Marie. Michigan

Mishibinijima Private Art Gallery
(By with appointment Only)
Wikwemikong, Ontario Canada
705-859-3871

2006

Mishibinijima Private Art Gallery
(By Appointment Only)
Wikwemikong, Ontario
705-859-3871

Mahdezewin Art Gallery.
Sault Ste. Marie. Michigan

Portrait of the Pope
Personal Invitation by Pope John Paul II
Vatican City, Rome Italy

Maple Avenue Art Gallery,
Evanston, Illinois

University of Sudbury
( Book Launch )
Sudbury, Ontario

Two Trees Convention Center
Niagara Falls, Ontario

2005

Mishibinijima Private Art Gallery
(By appointment Only )
Wikwemikong, Ontario
705-859-3871

Mahdezewin Art Gallery
Sault Ste. Marie. Michigan

2003

Artist at the Lafonda
Santa Fe' New Mexico

Mishibinijima Art Gallery
Wikwemikong Art Gallery, Canada

2003

Eiteljorg Museum of the Native American Art
Art jury by invitation only - ( Two awards 1st and Best of Show )
Indianapolis, IN. USA

2002

Ziibiwing Cultural Society
Art Jury - Two Awards 1st and Best of Show
Mount Pleasant, MI. USA

2001

Baymills Community College,USA

University of Michigan
Ann Arbor, MI.USA

Mahdezewin Art Gallery
Sault Ste. Marie,MI.USA

1999

Spirit Landscapes by Mishibinijima ( Private invitation only).
Pickering, Ontario

1998

Mishibinijima Art Gallery,
Wikwemikong, Ontario

Mishibinijima Art Exhibition
Vreden, Germany

Mishibinijima Art Exhibition
Skydome, Toronto. Canada

1997

Moon House Art Gallery
Book Launch
Vreden Germany

Mishibinijima Art Gallery
Wikwemikong, Ontario

Mishibinijima Art Exhibition
Private and Corporate only
Cologne, Germany

Mishibinijima Art Exhibition
Hamburg, Germany.

Mishibinijima Art Exhibition
Private and Corporate only
Cologne, Germany

Mishibinijima Art Exhibitions
Vreden, Germany

Mishibinijima Art Exhibitions
Munich, Germnay

1996

Mishibinijima Art Gallery
Wikwemikong, Ontario

Mishibinijima Art Gallery
Vreden, Germany

1995

Mishibinijima Art Gallery
Wikwemikong, Ontario

Mishibinijima Art Exhibition
Munich, Germany

Emerson Art Gallery
Clinton, New York, USA

1994

Sudbury Friendship Center
Sudbury, Ontario

Mishibinijima Art Gallery
Wikwemikong, Ontario

Tom Thomson Art Gallery
Owen Sound, Ontario

1993

Mishibinijima Art Gallery
Wikwemikong, Ontario Canada

1992

Vatican Presentation
( Togetherness )
Vatican City, Rome Italy

Mishibinijima Art Gallery
( Grand openning )
Wikwemikong, Art Gallery

Ottawa Winterlude
Ottawa, Ontario

Lepriete Art Gallery
Toronto, Ontario

Wikwemikong Art's Festival
Wikwemikong, Ontario

1991

Mishibinijima Art Gallery
Wikwemikong, Ontario

Wikwemikong Arts Festival
Wikwemikong, Ontario

1990

Tundra Art Gallery
Sault Ste. Marie, Ontario

Mishibinijima Private Art Gallery
Wikwemikong, Ontario

1989

Torontp Arts Festival
Toronto, Canada

Wikwemikong Arts Festival
Wikwemikong, Ontario

The Hugh McMillian Hospital
Arts Exhibition
Toronto, Canada

Sudbury Friendship Center
Sudbury, Ontario.

1988

Ojibwe Cultural Foundation
West Bay, Ontario

Native Art in View
Paris, France

Indian Arts and Craft Exhibition
Toronto, Canada

Ottawa Winterlude
Ottawa, Ontario

1987

Etobicoke City Hall
Etobicoke, Ontario

Mishibinijima Private Art Gallery
Wikwemikong, Ontario

1986

Wigwan Art Gallery
Manitoulin Island, Canada

1985

Lampton County Art Exhibition
Sarina, Ontario

Tundra Art Gallery
Sault Ste. Marie. Ontario

University of Toronto
Medical Science's Building
Toronto, Ontario

Thunder Bay Art Gallery
Thunder Bay, Ontario

Ojibwe Cultural Foundation
West Bay, Ontario

Art Gala
Toronto, Ontario

1984

Tundra Art Gallery
Sault Ste. Marie, Ontario

Sharing the Art
Vienna. Austria

Sharing the Art
Munich, Germany

Spirit of the Art
Buffalo, New York

Spirit of the Art
Oakville, Ontario

Art from Manitoulin
Toronto, Ontario

Birchbark Sings
Oakville, Ontario

Thunder Bay Art Gallery
Thunder Bay, Ontario

1983

Whetungs Art Gallery
Peterborough, Ontario

Miniture Art by Mishibinijima
Marburg, Germany

1882

Walter Engel Art Gallery
Toronto, Ontario

1981

Yost Art Gallery
Toronto, Ontario

1981

Yost Art Gallery
Toronto, Onatrio

1980

Wikwemikong Band Council Complex
(Grand opening)
Wikwemikong, Ontario

McMichael Art Gallery
Klienburg, Ontario

Ontario Science Center
Toronto, Ontario

Turtle Art Gallery
Buffalo, New York

The Sound of the Drum
( Book Launch )
Toronto, Ontario

1979

Royal Ontario Museum
Toronto, Ontario

Rainbow Art Camp
McGregor Bay, Ontario

Ottawa Museum of Man
Ottawa, Ontario

Art at the Coliseum
Rome, Italy

International Worlds Fair
(Best of Show)
Bari, Italy

1978

Ojibwe Cultural Foundation
west Bay, Ontario

Rainbow Art Camp
McGregor Bay, Ontario

Native Cultural Art Exhibition
Toronto, Ontario

1977

Royal Ontario Museum
Toronto, Onatrio

Artistan Art Gallery
Toronto, Onatrio

Walter Engel Art Gallery
Toronto, Onatrio

1975

Yost Art Gallery
Toronto, Ontario

Ojibwe Cultural Foundation
West Bay, Ontario

1974

Ojibwe Cultural Foundation
West Bay, Ontario

Walter Engel Art Gallery
Toronto, Ontario

1973

Yost Art Gallery
Toronto, Ontario

Rainbow Art Camp
McGregor Bay, Ontario

1971

Ojibwe Cultural Foundation
West Bay, Ontario

Yost Art Gallery
Toronto, Ontario

1970

Manitoulin Secondary School
West Bay, Ontario

Ojibwe Cultural Foundation
West Bay, Ontario

1969

Manitoulin Secondary School
West Bay, Ontario

Ojibwe Cultural Foundation
west Bay, Ontario

Ojibwe Arts Festival
West Bay, Ontario