Idle No More - Unframed 22 x 25
Artist: Andy Everson
Motivated by the prospect of several awful omnibus bills being pushed through Canadian parliament, the Idle No More movement was created as a way to demonstrate that Indigenous peoples would no longer stand idly by. Beginning in December of 2012, the movement spread like wildfire. Flash mobs were held in malls and solidarity rallies were organized outside MP’s offices across the country. Soon, demonstrations were held in the United States, Europe and beyond. While begun and maintained primarily by Indigenous peoples, settler supporters offered a significant amount of support to the movement in many regions.
Going to my first rally on December 29, I needed a poster to bring along. Knowing that the fist and feather with its image of strength and spirituality was quickly becoming the symbol of the movement, I thought it would be fitting if I created one in the formline style indicative of the west coast. I quickly drew up this image at my dining room table and then put it on my Facebook page and it suddenly went viral. Soon, this image appeared on poster boards, buttons, t-shirts, stickers and banners. My feeling was that I wanted this image to go out into the world and find a life of its own. It did.
I decided to finally put the image to paper to commemorate the significance that this movement had on worldwide Indigenous peoples. While it has certainly gotten a lot more quiet on the Idle No More front in recent years, the image of the fist and feather is as poignant as ever.
About The Artist
Andy Everson was born in Comox B.C. in 1972 and named Nagedzi after his grandfather, Chief Andy Frank. His cultural interests lay with both his Comox and Kwakwaka'wakw ancestries and are expressed through dancing, singing, and even the pursuit of a Master's degree in anthropology. Andy feels that my artwork stands on par with these other accomplishments.
Although he began drawing Northwest Coast art at an early age, his first serious attempt wasn't until 1990 when He started designing and painting chilkat-style blankets for use in potlatch dancing. From these early self-taught lessons he has tried to follow in the footsteps of m Kwakiutl relatives in creating bold and unique representations that remain rooted in the age-old traditions of his ancestors.