Cameron Hicks
The following short video collective presents nostalgia as a tapestry, a never-ending sprawl of memories and childhood curiosities woven together to create a singular body of work, what has become a mood piece. Inspired by what youth-specific fantasies Coe's cottage pieces evoked, I experimented with collage-work and video to revisit what landscapes were most important to the development of my character and that guided my vision of home. Using the help of friends and family, capturing the little-changed greenbelts and train tracks only belabored the obvious: that their presence shaped and guided myself as a young person, through sloping bike trails and cactus mounds, swings in juniper bushes and with a sense of foreboding past every mile of fence.
"Tapestry of Nostalgia," video, 2020
Chosen Coe Items
Josephine Assiniwie (Odawa), Tea Set, 1992. Birchbark, porcupine quill, sweetgrass, thread, dye, dims. variable. NA0273
Irene Desmoulin (Odawa), Cottage, 2000. Birchbark, porcupine quills, sweetgrass, dye, 7.25" x 9" x 7". NA0216
Artist Unknown (Odawa or Ojibwe), Birchbark Cottage, early 20th c. Birchbark, sweetgrass, quills, 6.75" x 7" x 5.75". NA0255