![]() ![]() Smith has recomposed a work from this series in memory of his father, who passed on Memorial Day 2020. Hand-stitched hemp with soil from these lands, mixed with ash and paint, take the form of mapped terrain. His series Native Soil (2015-2020) commemorated his father’s work as the Penobscot surveyor after the 1980 Maine Indian Claims Settlement Act. Charles’ recent works deal with memory, generational loss and renewal. His making is a meditation on iconography and assemblage, while dichotomies play out of the intimate and monumental, the architectural and performative. From this lineage, Charles’ narrative, which includes generational fracture and psychogeography, is one of place and remembrance. ![]() His grandfather was a mapmaker, and his father was the Penobscot tribal surveyor after the Maine Indian Claims Settlement Act of 1980. Charles is a direct descendent of the Penobscot Nation and also is of (colonial) British ancestry. Charles utilizes raw sourced-material, body prints, and open compositional spaces to engage with themes of artifact, presence, and continuity. Petroglyphs, mythology, and natural cycles all inform his work. Shane Charles creates paintings, sculptures, and photographs within a process of abstraction and poetics. An opening reception, with all three artists in attendance, will take place on Saturday, March 18, from 3 to 6 pm. Yi Gallery is pleased to present Looking North, a three-person exhibition, featuring work by Karian Amaya, Margrethe Aanestad and Shane Charles. ![]()
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