10 YEARS OF TEARS

It's our 10th anniversary this year and we're feeling a little weepy‒that’s why we’ve dusted off the archives to bring you highlights from our back issues over the last 10 years. Join us as we take a look back at 10 years of SAD Magazine, revisiting the memories and the people that made SAD what it is today. We're not crying, you’re crying.

Jeska Slater worked with one young man for eight months before he finally spoke. A trauma survivor dealing with homelessness, he had started attending the art-making events and workshops Slater was putting on through her organization for Indigenous youth, Young Artist Warriors.

“I just never heard him speak,” she says. “I think he had selective mutism, but I don’t know. And then, about eight months in, we’re doing a graffiti workshop and he turns to me and says, ‘This is really cool.’”

She later found out he was fluent in three languages: Anishinaabe, English, and French. That was during the very first Young Artist Warriors project, in 2007 in Montreal. Slater painted large-scale portraits of the youth and community members she was working with, depicting them in confident, serious poses in a vibrant colour palette against a background of halo-like triangular patterns. In this youth’s portrait, The Builder, he looks straight at the viewer, self-assured yet unassuming in his green parka and red baseball cap.

This attitude of respect and honour for those she works with is emblematic of Slater’s practice. At that time, she was involved in the Montreal art scene and then started working with Indigenous youths, many of whom had grown up in Northern Canada and on reserves. She was driven to found Young Artist Warriors when they started to disclose to her “probably the most horrific stories I’ve heard in my life” about their experiences dealing with the inhumane living conditions and intergenerational trauma that are epidemic for First Nations people in Canada. Slater was interested in the Indigenous ceremonies and cultural resources available on the West Coast, then moved her practice here after getting a contract with the Vancouver Aboriginal Friendship Centre.

Slater didn’t begin to acknowledge her own Ochekwi Sipi Cree heritage until later in life; “it became a tool of safety to disregard that piece of our history after seeing the segregation and experiences my mother had, but I always felt like there was something missing,” she says. With Young Artist Warriors, she set out to develop a program that would address some of these colonial impacts and promote positive identity development through contemporary artmaking. “I wanted to connect with youth using mediums that they respect and understand,” says Slater. That attitude led Young Artist Warriors to evolve into focusing on graffiti, as well as a partnership with local artist Take5. For the 2017 Vancouver Mural Festival, Slater acted as the first-ever Indigenous Protocols and Engagement Coordinator, connecting with both urban and land-based First Nations to offer thanks for working on their unceded territories, and to get urban youth involved in festival programming. “The Vancouver Mural Festival is very grassroots,” she says. “The fact that they want to actively honour the territories and urban Indigenous population speaks volumes to me.” In addition to Slater’s new position, this year the festival will be developing positions in order to train Indigenous youth in relevant skills they find interesting. “That’s really the model I love,” Slater continues. “Identifying what people’s gifts are, and then building on that.”

Another recent project was a mural created with the City of Surrey to celebrate National Aboriginal Day. It depicts three faces in profile, looking out into the distance over a background of a soaring bird and turquoise and red design. “The work in Surrey has a real social justice angle because of the issues that the Indigenous population is facing there,” Slater says. The huge, overlooked metropolis has just surpassed the City of Vancouver in terms of Indigenous populace, yet receives only $4 million of the $94 million of  Indigenous support funding allotted to the Greater Vancouver Area. Surrey, she says, has the highest Aboriginal child poverty rate in Canada.

Slater, who is currently completing a master’s degree in social work, considers her own artistic practice to be integral to her work with Young Artist Warriors. As the mother of a toddler, her work has lately taken the form of beading for its portable nature, combining the traditional medium with contemporary materials like earrings and snapback hats. “When I don’t get time to do my own art every week, I don’t feel able to do this work,” she says. “Even on a personal level, the art is so important.”

Intergenerational resilience and empowerment is the true focus of Young Artist Warriors. Slater’s belief in the healing power of art to accomplish that mission is evident in every aspect of her work. “When we’re looking at the media, we’re seeing the suicide crisis, crime, devastation—rarely do we hear about the young Indigenous champions who are changing things for their communities,” she says. “For me, it’s about providing a platform, giving these youth space to speak for themselves. That’s what this art is hoping to do: make that space, hold that space.”

This piece was first published in 2017 for Issue No. 24: Space.
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