The artwork

  • The mural is a visual re-telling of an Indigenous creation story passed down in Ininew (Cree), Anishinaabe (Ojibway) and Oyate (Dakota) cultures through oral traditions. Flattery’s interpretation utilizes vibrant colours and references traditional sports such as lacrosse, re-imagining conflict as regenerative, and placing relationships at the core of creation.

    This innovative piece centres Indigenous traditions and knowledge systems in the ALC building with the hope that more Indigenous students will see themselves reflected in the space and feel welcome. For all UM students, staff, and community members who use the facilities, the mural offers a holistic understanding of health, focusing on spirituality, relationality and the environment, aspects of wellness that are often overlooked in Western cultures.

    Read the UM Today story

  • Indigenous art picturing lacrosse net

The inspiration

How the flood came and how the world was made again

The story of the great flood is one told by many Indigenous nations on Turtle Island. As an Oyate -Anishinaabe artist, Kristin’s recounting of the great flood blends oral and written stories gifted to her by Indigenous scholars, Elders, and Knowledge Keepers. Her version notably draws from a story told by Ininew Elder, Kuskapatchees, which appears in Manitowapow , an anthology of Indigenous literature edited by Niigaanwewidam James Sinclair and Warren Cariou. Blending particularities from Ininew, Oyate and Anishinaabe traditions, Flattery presents the story as she understands it to be. Ininimowin names and words are used in the story below.

  • Metunne kiyas, meaning a very long time ago, Wesukechak, the great spirit, lived a carefree life in the forest with his brother the black wolf. Every day, they roamed the forest and hunted the animals who lived there, drying the meat, and eating it. The animals who lived in the forest started to get angry, and they decided to plot against the black wolf. They called a meeting, and after much discussion, they decided that the sea lions would try to take the black wolf from Wesukechak. Wesukechak learned of the plan and warned his brother. He implored the black wolf to never go near the water, never jump over a creek, and if he must cross, to always walk a pole across. Most importantly, he told him: never follow a deer into the water. The black wolf agreed.

  • Indigenous art
  • One day, the black wolf was chasing a deer, and the deer ran to a lake, in the middle of which sat an island. When the deer began to swim, the black wolf forgot his brother’s orders and followed it into the water. The sea lions, who lived near the island, saw the black wolf swimming, and made the lake start to boil and toss, submerging and drowning him.

    Wesukechak, meanwhile, could not find his brother. In the forest, he found the deer’s tracks, and followed them to the lake. Wesukechak looked around and saw Okiskemunisu, king fisher, who was sitting in a Tree.

    Wesukechak asked him: “Okiskemunisu, what do you see across the lake near that island?”

  • 1 of 3 pieces of art of the great flood
  • But the bird, who was suffering from a broken beak, replied, untruthfully: “Fish.”

    Wesukechak, who had many powers, fixed Okiskemunisu’s beak, and then asked him again: “Okiskemunisu, what do you see across the lake?”

    “I see the sea lions playing with the black wolf’s tail,” the king fisher replied, flying off to go catch fish.

    Wesukechak was upset—his suspicions were confirmed, he knew his brother was dead. He looked around and saw Amisk, the beaver. He asked Amisk to cut down trees, and Muskwa, the bear, to pull the logs together to make a huge raft, which Wesukechak fastened together with willow bark. Food was gathered and put on the raft. Wesukechak found a deer horn and made a spear, and then boarding the raft, he crossed the lake.

  • 1 of 3 pieces of art of the great flood

The artist

  • Kristin Flattery | Ozhaawashko Mashkode – Bizhiki (Blue Buffalo Womyn)

    is an Oyate, Anishinaabe, Irish, and Belgian contemporary, multimedia artist, female ogichidaa water protector, and mother from Long Plain First Nation. Kristin believes that healing from trauma and using art as a means for expression and communication are both meaningful and necessary. Through the discourse of Indigenous sovereignty, she utilizes decolonizing art practices by using her body as a vehicle of expression to navigate and reclaim an Indigenous space within Western institutions.

     

  • Kristin Flattery, Indigenous artist explaining her artistic process