NORVAL MORRISSEAU BLOG: July 2010

Norval Morrisseau Quotes:

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"I transmit astral plane harmonies through my brushes into the physical plane. These otherworld colours are reflected in the alphabet of nature, a grammar in which the symbols are plants, animals, birds, fishes, earth and sky. I am merely a channel for the spirit to utilize, and it is needed by a spirit starved society."

"My art speaks and will continue to speak, transcending barriers of nationality, language and other forces that may be divisive, fortifying the greatness of the spirit that has always been the foundation of the Ojibwa people."

"My goal is to break the barrier between the white world and mine. I wish only one thing, to be an artist and to be respected as one - and my paintings to be seen by all people."

"My heart and soul is reflected into my mind and my mind is reflected into my hands."

"From the first time I picked up the brush, painting became my passion. Over the years that passion has grown and strengthened. -

There is no other way to describe it. To paint is to live."

"I started to do some painting. I guess I saw some art literature from Arizona or the Southwest somewhere, but I was hungry to learn more. I wanted to paint my house and paint the walls in traditional pictographs like the ones I saw from the rock paintings and birch bark scrolls our people used to make."

"I was told by some relatives not to do this - that I should not be tampering with these forms, 'because the Indians will ostracize you'. Or the elders would not care for it, just like the Jesuits. -

Nevertheless I was determined to do it, for it is my destiny..."

"The Shaman Artist
Wishes to express to us
Through
The art form
That we are all
Like children-

Our childlike simplicity
With dignity and sweet humility
We view
One environment
and
Remind us of the Pure Spirit
Expressing itself upon ourselves."

"I don't wish my work to be exploited, but to be properly used as an art form in its proper place where for the generations of the great Ojibway people it can be seen in the future, as well as be appreciated by all our white brothers."

"I’ve been looking for books all my life – books about American Indians. Anything that I could find that was civil and worthwhile besides what my Grandfather was telling me about the Iroquois and others. There isn’t very much written about Natives in the art and history books we read today. The only thing that was written was about the Iroquois slaughtering the Jesuits somewhere and Sitting Bull and his followers being chased out of Canada."

"I want my work to be cornerstone for Indian art, to provide something that will last."

"I have always been attracted to religious paintings, but only the ones that had that mystical or supernatural quality in them, especially Saint Teresa by Bernini. Just looking at Saint Teresa I get some kind of vibrations from it. I can close my eyes and feel them. That's great art, and it brings on that tingling sexual feeling. Other saints, like Saint Sebastian, do that as well. But the Christ figure was always the one that was dominant for me.That's why I say that Christ to me is still the greatest shaman, and that is why some religious visions are so complex, and so very hard to explain to people."

"Love for life is a gift"

“I would like to say that I am an artist so that I can beautify the world and battle conditioned consciousness with the same tools used to condition it.

My culture is my world.”

“What I teach the people many times is that attitude and attention will determine the whole course of our lives. Get rid of fear and that is all you ever have to get rid of. Fear of anything at all.”

“My paintings are icons, that is to say, they are images which help focus on spiritual powers, generated by traditional belief and wisdom.”

"It is our Ojibwa tradition to recall our history or obtain our history in an oral manner. It is important for our children and others to benefit through the process of continuing to recall and make history."

"I guess I was increasingly seeking the art form and culture I was being taught, but there was none out there."

"The Grand Shaman is like the Pope of Rome. The Pope is on one side of coin, the Shaman on the other side of the coin."

"My Grandfather told me once that nobody, no matter how hard they tried, could he remember all of the legends, otherwise, the whole of Northwestern Ontario would be covered in Pictographs."

"I consider Manitoulin Island to be the most sacred place in Canada"

"My idea is, why I draw them, see, there's lots of stories that are told in Ojibway but that wasn't enough for me. I wanted to draw them - that's from my own self - my own idea what they look like."

"Be who you are no matter how hard it is. Never mind the ridicule."

"Just be"

"Today we wonder and are distracted by the white man's ways that we cannot cope with. Those of us who are lucky have made it. But a lot of us are still behind, by trying to live like our white brothers and their religion, ignoring our great ancestors' culture. If one has an intelligent mind we could live side by side with our ancient ways and same time get us where we should be."

"Armed with an arsenal of heavenly designs and sculptures, the priests were prepared and fearless. With their unlimited resources and soldiers they were sent to conquer the New World and bring their culture and religion to every corner."

"People had to be stripped of their culture before they could be taught to be civilized. The Natives of the Americas were not the dogs people were misled to believe, but rather a sophisticated network of different cultures, religions and so on."

"When the Jesuits came, the Indian was already around. The Indian did not understand them. He tried to understand them, what they were up to. He knew that they were going to be there for awhile. He knew how sad it was, seeing his people, how low they were put, how they had previously enjoyed living and needed to live freely again. How do we go about doing that now? We need images. We’re going to use images ourselves."

"To accomplish what I have started and to die in it feeling I have fulfilled what I started - to reach a level where I and Manitou and the Indian will always keep the Indian faith alive - to be a great Artist and Preserver of Indian culture. I accept it fully as a duty in life which was set forth for, to set an example."

"These paintings only remind you that you're an Indian. Inside somewhere, we're all Indians. So now when I befriend you, I'm trying to get the best Indian, bring out the Indianness in you to make you think everything is sacred."

"The Ojibway believed the thunder to be a great massive bird called thunderbird, whose eyes shoot out lighting and thunder. The first thunder in early spring was something good to hear, for the Ojibway welcomed their protector again from its home in the south where it had been all the winter. Offerings of tobacco were placed on the ground or on water or put into stove to burn, or sacred pipes were smoked by the elders to the thunderbird in the early spring."

"The fish, sacred trout, was the most respected of all fish. The trout gave the Indian life in abundance and according to Ojibwa Indian mythology it represented his soul carrier. The trout carried the Indian soul through transmigration into an other existence in the supernatural or reincarnation. All this belief worked for the betterment of the Indian food in reality - faith in the supernatural."

"Nepii-Naba, the merman, who brought good luck to those who offered him tobacco and, in return, helped Indians to travel safely on lakes and rivers"

“Among the Indians, as among other nations, some people are born artists, but most are not. I am a born artist. I have as much interest in my people as any anthropologist, and I have studied our culture and lore. My aim is to reassemble the pieces of a once proud culture, and to show the dignity and bravery of my people.”

"Now, when I paint a picture I just alow myself to be used. I pick up the pencil and the canvas. I allow the interaction with soul to reflect in the mind, to put down these images of people, men or women or children especially. I may draw a hundred children, but there is never the same colour."

"I go to the inner places, I go to the source, I go to the house of invention."

"Many times people tell me that I’ve cured them of something, whatever’s ailing them. But I didn’t do anything. It was the colour of the painting that did it. But now it’s even much stronger. The healing is much stronger than it ever was. What I finally find is this: We could live with turmoil and the anguish in everything and still we could feel contented and happy and compassionate. What we got rid of is the stress with colour.”

"So, if am in this World to deliver any messages I wouldn't want to be a preacher. I would want to be a painter"

"Let's put it this way. I know what is to be hungry and poor in cloths. But the spirit of one that is poor shall never be weaken by hunger, as hunger is good matter. This is what gives a man life and wisdom. I don't regret that I was hungry."

"As for the colours, one was for the heart, one was for the bum, one was for the arms, one was for all the different kinds of sicknesses."

"A long time ago, maybe two or three hundred years ago, before white men were around, some people were worried about what was going to happen.... so they went to talk to a shaman. They asked him if he could find out. The shaman went to a sacred place and started singing and drumming. He beat on his drum harder and harder until he jumped right out of his body and began to rise up in his consciousness. He went up to the third astral plane where he could fly through time. He flew through time until he reached the year 2000 and then came down to look around. Below him he could see hundreds, thousands... more than he could count... millions of ants travelling down well traveled trails... and mountains sticking out of the plains like giant ice crystals, reflecting the sun back into his face. When he returned to his own time he told the people about what he had seen. He told them that what ever these creatures were, there was lots of them and they were coming."

"All is well"

"We natives believe in the following saying: "Our God is Native. The Great Deity of the Five Planes is so. We are neither for nor against, We speak not of Christ nor of God. We say, 'Let them be.' We follow the Spirit on its Inward Journey of Soul through attitudes and attentions. Remember we are all in a big School and the Inner Master teaches us Experience over many Lifetimes."

"I have always been attracted to religious paintings, but only the ones that had that mystical or supernatural quality in them, especially Saint Teresa by Bernini. Just looking at Saint Teresa I get some kind of vibrations from it. I can close my eyes and feel them. That's great art, and it brings on that tingling sexual feeling. Other saints, like Saint Sebastian, do that as well. But the Christ figure was always the one that was dominant for me.That's why I say that Christ to me is still the greatest shaman, and that is why some religious visions are so complex, and so very hard to explain to people. So whenever you are looking at my pictures, you are looking at my visions, whatever they may be."

"Years ago I was walking down the street in Winnipeg feeling sorry for myself. A man was walking towards me, He had long hair and a leather jacket, and as we meet he said,'Things are not as bad as we think'. I looked away for a second and when I looked back he was gone. I never saw that man again."

"I may not have a Ferrari, but I'm the first Indian to break into the Canadian art scene and I have forever enriched the Canadian way of life. I want to make paintings full of colour, laughter, compassion and love. I want to make paintings that will make people happy, that will change the course of people's lives. If I can do that, I can paint for 100 years."

"Why am I alive? To heal you guys who are more screwed up than I am. How can I heal you? With colour. These are the colours you dreamt about one night."

“They speak about this tortured man, me, but I'm not. I've had a marvelous time, when I was drinking and now that I'm not, a marvelous time in my life."

"I've always wanted to be a role model. I've always wanted to stay an Indian. I wanted the little kids to know that."

"Just as a fish swims in any clear northern lake (in a medium that is virtually invisible to the eye) so we, if we are to live all right, should realize we live in a dimension on which our very existence, as people and artists, depends. The dimension is that of connectivity in life shared together in mutual respect… Fish, in spawning runs, seem to urge each other on, to reach safe and secluded lakes, with plentiful food supplies. Once there, they can live more non-competitively."

"The Ojibways have great respect for the Bear. According to their legends, in the distant past the Bear had a human form and was in fact an ancestor of the Ojibways. Therefore he understands the Indian language and will never attack or fight any Indian if he is addressed properly."

"As far as sex was concerned. I did everything under the sun. In those days I was a very sexually oriented person. But things change, things develop, and everything sooner or later dies. There are some things that grow, and you constantly have to sort out your thoughts and ideas."

"I can live anywhere. I can paint anywhere. I have painted six panels of the Man Who Changed Into a Thunderbird. All these paintings came from within. I don't need to isolate myself to do them. I can paint them here, there or anywhere. A pipe band could be going by, or cars."

"I paint with these colours to heal, my paintings honour the Anishnaabe ancestors who have roamed the Great Lakes for centuries upon centuries."

"We are all one"

"My people believe the earth to be their mother and that we are children of the earth. In spirit we are one with our environment."

"Personally I am not thinking about myself truthfully in this present year but years ahead when I am death for the children of mine and the generations of my people to feel proud of the art heritage of the Ojibway and every nationality is proud of its culture."

"We Are All One in Spirit"

Others about Norval Morrisseau:

"When the history of the twentieth century art in North America is written, no chapter will be more dramatic or significant than that of the Anishnabe painters, the aboriginal people of the Great Canadian Shield. In the 1950's when it appeared that their culture was on the verge of being extinguished by the onslaught of the "white" civilization, there was a move by several individuals to preserve the ancient oral traditions by recording them in writing and in art. In so doing, the artist's developed a unique style, indigenous, distinctive, graphic, with a rare potential for narrative and an innate primitive beauty. By the very act of depicting legends, the artists defied centuries of taboos, and many interesting sociological events followed: a shift in the roles of shaman /artist/ hunter occurred in the Anishnabe culture; the art became a seminal force in a revitalization movement; and the entire Ojibway Nation, a people heretofore overlooked by the mainstream of history, was thrust suddenly into the spotlight glare of an art-loving public."
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Mary E. (Beth) Southcott
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"How was it possible for this youth to reach back to the old feelings, to conceive the images that would bear the unmistakable stamp of his people? How could this firm pride originate in a community relegated to the status of third class citizens, constantly reminded of this status and defeated by it? What was there about this lad that earned for him in a medicine woman's dream the combined names of a powerful spirit and the metal traditionally sacred to the Lake Superior Ojibway - Copper Thunderbird?"
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Selwyn Dewdney-
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"...Norval, with his incredible ability with the formal problems of art (colour-design-space) and his commitment to the world of his people, the great Ojibway, give one the sense of power that only genius provides... It is sufficient to say that in the history of Canadian Painting, few have, and will remain giants. Norval shall."

Jack Pollock -

"Morrisseau, the artist, is a teller of tales. But tales such as these are only as powerful as the power of the person who tells them. Behind the visual imagery lies the power of his personal recital of a legend. Behind the legend lies the personal vision that explains everything. It may be difficult to distinguish Ojibway mythic elements from personal ones, or to separate Indian versions of Catholic iconography from Morrisseau's own set of emblems. He is at his most Indian when he offers an explanation of what he is doing. The purpose of doing it may have been to share with the world a heritage of the Great Ojibway that is proud and full of worth. The reason for doing it is very Indian. Where other artists might claim logic, tradition or authority as justification, Morrisseau always justifies himself by the most Indian of all explanations: the imperative of a personal, unique and private vision, the only real consistency which lies at the back of all his work. Everything, ultimately, is validated by Morrisseau's unanswerable claim to be responding to the demands of that personal, unique and private vision."

Lister Sinclair

"Morrisseau's genius for unifying or braking space in his designs is astonishing, as sureness of line. It cannot be classed as primitive art, because both the ideas and the expression evince cultivated thought. As this mysticism has never been recorded he is breaking new ground."-

Pearl McCarthy-

"Norval Morrisseau stands alone in his formal innovation and largeness of personal vision. He was the first Indian to study seriously and to update his own cultural beliefs and translate them visually for contemporary Indian and non-Indian audiences. In doing so he became the first Indian to break through the Canadian professional white-art barrier. His brilliance lies in his ability to break away from his own conventions, to constantly renew his vision." -

Elizabeth McLuhan

“He blazed a path that many young artists followed. He was a great role model for younger artists. His courage, in confronting the oppression, the attempt by government policy which began in the 19th century to silence and hasten the end of traditional indigenous knowledge, it took great courage to confront that. He was an extraordinary man.”

Ruth Phillips

"He is one of the greatest painters Canada has ever produced. One day we were looking at the Group of Seven and he commented 'They paint trees, I paint loons and they connect to the sky'". -

Tom Hill

"Norval, like all innovators, had made a trajectory to contemporary cultural theory, an idea I was not to understand until quite recently. It situated Norval at the centre of a cultural transformation, contemporary Ojibwa art. This legendary artist had created a visual language whose lineage included the ancient shaman artists of the Midiwewin scrolls, the Agawa Bay rock paintings and the Peterborough petroglyphs. As a master narrator, he had a voice that thundered like the sentinel of a people still listening to the stories told since creation.” -

Robert Houle

"I believe that when Canada 'disappears', Morrisseau will remain. I believe history will note that Norval Morrisseau will be better known than Pablo Picasso. He's more original."-

Robert McMichael

''He was a role model, visionary and seminal force throughout Native America and Canada. We were especially fortunate to have the great man himself present at the opening of his major retrospective, 'Norval Morrisseau: Shaman Artist,' at our New York City museum. Through his groundbreaking and vibrant works, he positioned his rich indigenous heritage squarely within modern art; a revolutionary and uplifting achievement that influences contemporary culture through today.'"-

Kevin Gover -

"Norval Morrisseau's most significant and enduring achievement will be measured over generations as the lasting impact of his greatest ambition - to instill pride - makes itself felt in the art of new artists compelled to create by his masterful paintings."

Greg A. Hill

"Their great appeal partly derives from Mr. Morrisseau's marrying of an understanding of Indian spirituality with his own formal ambitions as a painter... New York has many museums with countless exhibitions, but it's been a long time since I saw a show of such potent spirituality, warmth and feeling."

Benjamin Genocchio -

"Norval Morrisseau's courageous and often controversial approach to his work was instrumental in encouraging First Nations people to know their spirituality, history and culture in order to better understand themselves. He taught us to be proud of who we are. He inspired countless other First Nations people to pursue a career in the arts. His legacy will remain with us and continue to inspire all Canadians for many generations to come."

Phil Fontaine

"Morrisseau was committed, from the very start, to preserving the stories and myths of his people. He never wavered. As troubled as his life was, he also went through it with this incredible sense of mission."

Paul Carvalho

"He was a courageous Aboriginal painter who, through perseverance and faith in his gift, was able to break through enormous cultural and racial barriers to bring his art not just to Canada, but to the world."

Chuck Strahl- -

"He has been described as perhaps the greatest native artist who ever lived - a primal visionary who gave form to the Ojibway legends and myths told to him by his maternal grandfather Moses "Potan" Nanakonagos."

Lloyd Dolha

Monday, July 19, 2010

Norval Morrisseau Conspiracy Unveiled (Part I)

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~ Exclusive Report ~
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Affidavits to Maslak McLeod Gallery, Toronto, Ontario (click HERE & HERE)
/Signed by Norval Morrisseau on March 14th & April 24th, 2003/
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"Ancestral Spirit with Evil Serpent", © 1977 Norval Morrisseau
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"Interdependents" or "Arrangement on Blue", © 1979 Norval Morrisseau

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How is it possible for the above painting titled "Ancestral Spirit with Evil Serpent" supposedly labeled fake by Norval Morrisseau in May 2001 in the National Post's "Morrisseau fakes alleged" and excluded from the 'fakes and imitations' list of the Norval Morrisseau's sworn affidavit only two years later? (click HERE)
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How is it possible for the above painting titled "Interdependents" or "Arrangement in Blue" supposedly labeled fake by Norval Morrisseau on March 14th, 2003 (click HERE) and only one month later on April 24th, 2003 excluded from the 'fakes and imitations' list of the Norval Morrisseau's sworn affidavit? (click HERE)
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After reading the rest of these posts it is going to be clear that Norval Morrisseau was not aware of the situation and that the above contradictions could only represent manipulations of Donald Robinson of Kinsman Robinson Galleries (click HERE) and Gabor Vadas of Nanaimo, BC (click HERE).
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Ritchie 'Stardreamer' Sinclair MISSINFORMED THE PUBLIC at www.morrisseau.com when he stated that in the final years of his life Morrisseau fought desperately against the proliferation of thousands of inferior counterfeit paintings, identifying fake and forged works available for sale and that between 1993 and his death in 2007. He also stated that Norval Morrisseau sent multiple sworn declarations to dealers and galleries demanding fake and forged works misattributed to him be removed from sale or destroyed. The same affidavits were mentioned in questionable 'Expert Report' by Donald C. Robinson issued as a part of Ritchie 'Stardreamer' Sinclair's defence in Otavnik Vs Sinclair SC 09-00082782-0000 - Formerly S8871/08; Otavnik Vs Sinclair and Kinsman Robinson Galleries (click HERE).
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Important notes: In case of the Norval Morrisseau's signed affidavit dated November 30th, 2004 directed to Mr. Gary Lamont for the paintings presented at his www.woodlandartgallery.ca it had never been sent to Mr. Gary Lamont while Norval Morrisseau was alive because he only became aware of it in 2008. Gabor Vadas had many opportunities to deliver this affidavit to Mr. Gary Lamont including the time when Mr. Lamont visited Norval Morrisseau in Nanaimo, BC on May 18th, 2005 (click HERE... see last three images at the bottom of page). Gabor Vadas did not have the decency to hand this affidavit to Mr. Gary Lamont and I do not believe he ever had intention to do so neither, and he 'conveniently' waited for Norval Morrisseau to die before exposing it to the public and consequently to Mr. Gary Lamont (click HERE). I do not believe that Norval Morrisseau would have ever presented such a strong statement about paintings listed in this sworn affidavit without expressing 'his' concerns to his very good friend Mr. Gary Lamont who is the owner of www.woodlandartgallery.ca.
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The following is going to show that Norval Morrisseau did not send sworn affidavits between 1993 and 2007 - this actually occured only between 2003 and 2005 as a part of manipulation scheme by Gabor Vadas.
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FOR EASE OF UNDERSTANDING THE FOLLOWING EXHIBITS ARE PRESENTED IN CHRONOLOGICAL ORDER:
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~ Continued on: Norval Morrisseau Conspiracy Unveiled (Part II) ~
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Norval Morrisseau Conspiracy Unveiled (Part II)

~ Continued from: Norval Morrisseau Conspiracy Unveiled (Part I) ~

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Exhibit No. 1
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The Following is an agreement that Norval Morrisseau signed with Kinsman Robinson Galleries giving them 'the completely exclusive right for Canada to market his paintings and drawings' that appeared in a questionable 'Expert Report' by Donald C. Robinson.
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~ Donald Robinson originally wanted to get 'the completely exclusive right for the world to market Norval Morrisseau's paintings and drawings' to which Norval Morrisseau objected (see below).
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~ Dated March 6th, 1990
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/click HERE to read what preceded to the signing of this document as presented on Kinsman Robinson Galleries' blog on August 23rd, 2008/
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Norval Morrisseau dealt with signing off the papers with a "white man" in a very "indian way". In 1962 when Jack Pollock wanted to drew up a standard consignment with Norval Morrisseau in connection with paintings to be exhibited in his first public showing at The Pollock Gallery in Toronto, Norval Morrisseau "glanced at the form and tore it to shreds, quoting his grandfather, 'White man's papers are absolutely worthless and not to be believed."*
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* - quotation from page 18 in "The Art of Norval Morrisseau" /Sinclair, Lister, Jack Pollock, and Norval Morrisseau/ -Toronto, Ontario: Methuen, 1979; ISBN: 0-458-93820-3/
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The individuals involved in this conspiracy state that 'no gallery officially representing the artist standing behind these paintings'. Also they state that 'no Jack Pollock label has ever been found on any of these purported Morrisseau paintings. Yet all those '70s painting were supposed to have been done during the strongest period in the Morrisseau - Pollock connection. Which then over-lapped with the period Norval spent with a couple of apprentices.'
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MANY PEOPLE KNOW that majority of the Norval Morrisseau's paintings were not acquired from the artist's "official representatives" such are The Pollock Gallery and Kinsman Robinson Galleries but directly from the artist.
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There are large quantity of Norval Morrisseau's paintings offered door-to-door by the artist and sold for a pure survival and many were just given away as his appreciation towards people that assisted him along his life's journey. Many times Norval Morrisseau would acquire 'the things of interest' by providing a number of paintings for an exchange. There had been moments where he would be 'entertained' by male escorts from Vancouver, flying to Thunder Bay, and they would demand 'a specific number of paintings' rather than money 'for services rendered'.

There is also a well known case when the group of lawyers from Thunder Bay purchased large number of paintings from Norval Morrisseau to use them as a tax write-off. Donald C. Robinson of Kinsman Robinson Galleries commisioned a 270 page report for 211 Norval Morrisseau paintings that lawyers Zelinski, Whent and Pustina of Thunder Bay, Ontario purchased from 1984 to 1986 (click HERE to read a thank you letter to Donald C. Robinson written and signed by Nicholas J. Pustina & click HERE for more information about this court case). It is strange that in 2005 Donald C. Robinson in Kinsman Robinson Galleries' publication "NORVAL MORRISSEAU - Return to the House of Invention" stated the following which was contrary to the information presented in this exhibit and elswhere: "The 1980s were turbulent years for Norval. After his break from the Pollock Gallery and its final collapse in 1983, the artist's productive life was seriously interrupted by bouts of destructive alcoholism. His artistic productivity was next-to-nothing during these periods." (see Page 144)

>>> NONE OF THESE PAINTINGS MENTIONED HEREIN HAVE GALLERY STICKERS AND/OR BILLS OF SALE FROM THE 'OFFICIAL REPRESENTATIVES' & THERE ARE THOUSANDS OF THEM, MANY OF WHICH ENDED IN PRIVATE COLLECTIONS, GALLERIES, MUSEUMS AND AUCTION HOUSES ALL OVER NORTH AMERICA AND BEYOND. <<<

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NOTE: It is a shame that gallery who claims to be a 'Norval Morrisseau principal dealer' treats disrespectfully paintings that they do not own and glorify the artworks on their gallery's 'Morrisseau inventory list' rather than treating every Norval Morrisseau artwork with same respect. It is obvious that their agenda is to 'what benefits them' and not 'what would the general public be able to benefit from' (see Exhibit No. 14).

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~ Continued on: Norval Morrisseau Conspiracy Unveiled (Part III) ~

Norval Morrisseau Conspiracy Unveiled (Part III)

~ Continued from: Norval Morrisseau Conspiracy Unveiled (Part II) ~

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Exhibit No. 2
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~ Dated June 3rd, 1993
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- Norval Morrisseau's request from Maslak McLeod Gallery not to use reproductions of his art. (Signed by the artist)
/Click on image to enlarge/
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NOTE: No mention by Norval Morrisseau of "fakes and imitations" in this registered letter dated June 3rd, 1993. This letter shows that Maslak McLeod Gallery was not to reproduce his art in any form, in whole or in part, without his written consent from that day forward.

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~ Continued on: Norval Morrisseau Conspiracy Unveiled (Part IV) ~

Norval Morrisseau Conspiracy Unveiled (Part IV)

~ Continued from: Norval Morrisseau Conspiracy Unveiled (Part III) ~

Exhibit No. 3

This exhibit involves visit by Norval Morrisseau who together with Gabor (Gabe) Vadas attended the Sacred Ceremony on Manitoulin Island in September 1999. They spent on the island couple of weeks and Norval Morrisseau painted several paintings at Nimkee Art Gallery.

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Blair Debassige (right) presented renowned artist Norval Morrisseau (centre) with an eagle feather at a ceremony held on September 24, 1999 at the Ojibwe Cultural Foundation (OCF). Helping out with the ceremony was Morrisseau's adopted son Weekan (Gabor Vadas).

~ Note a genuine Norval Morrisseaus painting on the wall!?
/Click on image to Enlarge/

Debassige presents an eagle feather to idol: internationally acclaimed artist Morrisseau
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Jennifer McCauley,
The Manitoulin Expositor, published September 29, 1999
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M'CHIGEENG - It was a poignant moment for M'Chigeeng artist Blair Debassige as he presented his idol, internationally acclaimed artist Norval Morrisseau, with an eagle feather, the highest honour an aboriginal person can receive.
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The sacred ceremony was held last Friday at the Ojibwe Cultural Foundation (OCF) in M'Chigeeng. When one receives an eagle feather, that person is being acknowledged with gratitude, love and ultimate respect, says Mr. Debassige, who owns Nimkee art gallery in M'Chigeeng.
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"I hold a lot of respect for Norval as an artist, but also as a friend," be says. "This is my way of honouring him." Mr. Morrisseau could not describe the depth of feeling receiving a sacred Ragle feather invokes. "It is like receiving a star on Hollywood, but better," he says.
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The intensity of emotion cannot be described by English words, says Weekan, Mr. Morrisseau's adopted son. "There is no way to translate those feelings from Ojibwe into English," he adds. "The only comparison I can make is the intense feelings you fall in love with someone and everything is perfect."
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The ceremony began with Paul Nadjiwan, executive director of the OCF, leading the M'Swanoodin singers in an opening song as they rhythmatically beat the ceremonial drum. The feather was then prepared with sacred tobacco. In this way, the eagle and the Creator are notified of the name of the new eagle feather holder. After the feather was prepared, Weekan, accompanied by Mr. Debassige, pushed Mr. Morrisseau's wheelchair around the circle in time to the drum's beat.
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All those who came to witness the ceremony were encouraged to dance behind Mr. Morrisseau to demonstrate their support. At the song's conclusion, Mr. Debassige presented the feather to his "role model."
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Anyone who receives an eagle feather must make a home where the feather will be kept. The feather also must be fed by holding or wearing it at sacred ceremonies. By doing this, the feather becomes recharged with sacred energy.
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Mr. Debassige's dream was finally realized with Mr. Morrisseau's visit to Manitoulin. Since the age of 13, Mr. Debassige has dreamed of painting in his studio with the man who has become known as the father of Woodland Indian art.
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Mr. Morrisseau plans to use his time on the Island to paint and prepare for the Kinsman Robinson Gallery Show in Toronto next month. The show, which will combine old and new paintings, will be the largest exhibition of his work to date. Painting aside, Mr. Morrisseau, who suffers from Parkinsons disease, came to the Island to partake of traditional Anishinabae healing.
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"I consider Manitoulin Island to be the most sacred place in Canada." he says. "Cleaning the toxins from my body is the only way I'm going to get better." The Island air helps to clear his mind and the beauty please his artistic eye, Weekan says.
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"Norval has told me a lot about Manitoulin Island," he adds. "He has helped me to understand the spiritual force that exists in this place. There is so much energy here."
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Since his arrival on the Island last Wednesday, Mr. Morrisseau has begun six new paintings in traditional Woodland style. This type of painting has been termed x-ray vision in the past because the artist depicts the inner workings or feelings of the subject.
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The dozen of Mr. Morrisseau's paintings displayed at Nimkee gallery are explosions of vibrant color depicting aboriginal imagery. Bright melon, canary yellow, fuchsia, vermilion, aquamarine, violet and royal blue bring the pictures to life, emphasizing, the black outlines of the subjects. Occasional touches of softer pastels or earthy brown tones soothe the eye.
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"I paint with these colors to heal," he says. "My paintings honor the "Ahneesheenahpay" ancestors who have roamed the Great Lakes for centuries upon centuries. My art records and preserves the legends, art, songs and beliefs of the "Ahneesheenahpay," not only for this generation, but for all future "Ahneesheenahpay."
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The compositions, which range in price from $3,200 to $15,000, are painted on canvas or Arches paper. Unlike most artists, Mr. Morrisseau draws his inspiration from his "inward reserves" rather than looking to his surroundings or environment for ideas.
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"My heart and soul is reflected into my mind and my mind is reflected into my hands."
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His inspiration originates from the stories and legends he heard as a boy. Born in 1932, on the Sand Point Lake Reserve north of Thunder Bay, he learned traditional Ojibwe customs, values and beliefs from his grandparents.
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During his youth, Mr. Morrisseau received his "mission" from his grandfather to share through art all of the values he was taught to respect about the Ojibwe culture.
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It was in the 1950s, while hospitalized with tuberculosis that he began painting and drawing his visions on birch bark and brown paper bags. Although his beginnings were humble, he now has more than 40 one-man shows under his belt.
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Mr. Morrisseau wears many hats. Aside from being a renowned artist, he is also a Shaman (or medicine man) and a published author. In Travel to the House of Invention, he pens a powerful account of his life and art career.
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From the first time he picked up a brush, painting became his passion, he says. Over the years that passion has grown and strengthened.
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"There is no other way to describe it," he says. "To paint is to live."
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* Weekan - Gabor (Gabe) Vadas
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Source:
- "Debassige presents an eagle feather to idol: internationally acclaimed artist Morrisseau"

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• To view an original The Manitoulin Expositor's article click on the above link and/or click HERE to view the source of the image presented above

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>>> The following photographs were supplied to Blog Master by Kathleen Debassige, former co-owner of Nimkee Art Gallery and were taken in M'Chigeeng while Norval Morrisseau who together with Gabor (Gabe) Vadas attended the Sacred Ceremony on Manitoulin Island in September 1999:

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1. Norval Morrisseau in a truck in front of the OFC
/Click on image to Enlarge/
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2. Norval Morrisseau and Gabe Vadas during the ceremony at OFC
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3. Norval Morrisseau with OCF executive director Paul Nadjiwan
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4. Norval Morrisseau with artist David Migwans at OCF
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5. Norval Morrisseau with Kathleen Debassige's daughter Sabrina
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6. Nimkee Art Gallery, M'Chigeeng, Ontario
Lower level - Art Gallery
Upper level - Studio; where Norval Morrisseau stayed during his visit
/Click on image to Enlarge/
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7. Norval Morrisseau at Nimkee Art Gallery Studio
/Click on image to Enlarge/
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8. Norval Morrisseau and Gabe Vadas at Nimkee Art Gallery Studio
/Click on image to Enlarge/
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9. Norval Morrisseau and a tourist at Nimkee Art Gallery Studio
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10. Norval Morrisseau painting at Nimkee Art Gallery Studio
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11. Norval Morrisseau wearing hat Kathleen Debassige made from his bear fur robe at Nimkee Art Gallery /Click on image to Enlarge/
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12. Norval Morrisseau with Kathleen Debassige and her children Sabrina, Dakota and Raven at Nimkee Art Gallery
/Click on image to Enlarge/
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13. Norval Morrisseau talking with Kathleen Debassige while her children Dakota and Raven running in a background at Nimkee Art Gallery /Click on image to Enlarge/
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14. Kathleen Debassige's daughter Sabrina and a friend with Norval Morrisseau at Nimkee Art Gallery /Click on image to Enlarge/
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15. Norval Morrisseau with William McMullan and a friend at Nimkee Art Gallery /Click on image to Enlarge/
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16. Norval Morrisseau with Gloria McMullan at Nimkee Art Gallery
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17. "Untitled", 58"x138", © 1979 Norval Morrisseau, painting on canvas exhibited at Nimkee Art Gallery
(Collection of Kathleen Debassige) /Click on image to Enlarge/
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18. Norval Morrisseau smiling in front of the painting "Untitled", 58"x138", © 1979 Norval Morrisseau, painting on canvas exhibited at Nimkee Art Gallery
(Collection of Kathleen Debassige) /Click on image to Enlarge/
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19. "Untitled", 58"x138", © 1979 Norval Morrisseau, painting on canvas exhibited at Nimkee Art Gallery
(Collection of Kathleen Debassige) /Click on image to Enlarge/
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20. Norval Morrisseau signing Nimkee Art Gallery guestbook
/Click on image to Enlarge/

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21. Interior of Nimkee Art Gallery Studio showing Norval Morrisseau paintings ranging from 1970's to 1990's /Click on image to Enlarge/
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Here are 21 photographs of Norval Morrisseau including the Manitoulin island 'Eagle Feather Ceremony' at the Ojibwe Cultural Foundation (OCF). These photographs clearly show Norval Morrisseau's contentment and credibility concerning the paintings that these few individuals have publicly slandered as 'questionable', 'fakes', 'forgeries', 'abominations' and other defamatory attributes and they have now been exposed for the 'conspiracy' surrounding this whole issue. The paintings in the backgrounds are authentic Norval Morrisseau paintings predominantly from the 1970's period. The Eagle Feather Ceremony is a sacred ceremony. Norval Morrisseau knew that with his full heart and soul. It has been said by these individuals that Norval Morrisseau did not have record nor paint in this common style. Which is at the heart of this conspiracy to corner the market by these few scrupulous individuals by trashing this great period and body of work by Morrisseau so that they can sell their much 'later period work' which they hold inventory stock in for sale.
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To these people it's all about 'beating out the competion' through slander and disinformation spread by themselves. A spiritual man of Morrisseau's calibre would not 'dare to accept' an eagle feather in such a spiritually charged place as Manitoulin Island under 'false pretense' of his artwork clearly shown displayed on the walls of the gallery where this ceremony had taken place. Mr. Morrisseau would have considered this 'sacreligious' to say the least and would not put his soul and spirit in jeopardy if he didn't feel right about being there and having his own artwork prominently displayed and be awarded an eagle feather.

ADDENDUM:
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As per conversation with Kathleen Debassige, former co-owner of Nimkee Art Gallery. She told me that Norval Morrisseau had stayed for 10 days in the gallery in September/October of 1999. She also stated that at no time were there any negative or critical comments made by Norval Morrisseau regarding the gallery’s art collection. She said that he stayed initially for one week and then went into Toronto to open an art show at Kinsman Robinson Galleries. After the exhibition he came back to M'Chigeeng and stayed with them at the gallery for another three days before going back home to Nanaimo, British Columbia. She also mentioned that he signed the gallery’s guestbook and he allowed many photos with numerous people and his art to be taken. As a closing statement she mentioned that he painted many new artworks in the gallery’s studio and that he genuinely enjoyed his visit as much as they enjoyed having him.
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Bellow presented is her signed affidavit attesting to the veracity of out conversation:
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~ Dated January 30th, 2009
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NOTE: Her handwritten comment, directed to me personally, states the following:
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"I do believe that pictures speak louder than words sometimes. Norval signing book (click HERE) and smiling in front of his art (click HERE); Gabe smiling and wearing hat Norval asked me to make him from his robe (click HERE). Staying in gallery for 10 days, these things are not consistent with the idea that they were upset about fake art."
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~ Continued on: Norval Morrisseau Conspiracy Unveiled (Part V) ~

Norval Morrisseau Conspiracy Unveiled (Part V)

~ Continued from: Norval Morrisseau Conspiracy Unveiled (Part IV) ~

Exhibit No. 4

In the above mentioned 'National Post' article (see Exhibit No. 5), which will be presented in its entirety in the next exhibit, Mr. Donald Robinson (of Kinsman Robinson Galleries) states that he was suspicious of the authenticity of 23 paintings which were brought to him by another collector who purchased them at Kahn Auctions sold by Mr. Randy Potter (auctioneer). Mr. Robinson in the article only mentions that he bought some works of Norval Morrisseau at Kahn Auctions himself. In fact, over the period between late 1999 and early 2000 Mr. Robinson actually purchased 28 painting from the same auction house as the receipts presented below show. He openly encouraged other people to buy them and unsuccessfully bid on another 40 to 60 more paintings from the same auction house.

NOTE: The first series of paintings that Donald Robinson purchased at Kahn Auctions occured on exacly the same day as the newspaper article in the previous exhibit.
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~ Dated September 29th, 1999

- Receipt made out to Donald Robinson* at Kahn Auctions (a)
/Click on image to enlarge/
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~ Dated October 11th, 1999

- Receipt made out to Donald Robinson* at Kahn Auctions (b)
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~ Dated January 5th, 2000

- Receipt made out to Donald Robinson* at Kahn Auctions (c)
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~ Dated January 26th, 2000

- Receipt made out to Donald Robinson* at Kahn Auctions (d)
/Click on image to enlarge/
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~ Dated March 8th, 2000

- Receipt made out to Donald Robinson* at Kahn Auctions (e)
/Click on image to enlarge/
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ADDENDUM:
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Bottom: Receipt made out to Donald C. Robinson of Kinsman Robinson Galleries at Kahn Auctions, Pickering Ontario listing six paintings by Norval Morrisseau and one by Robert Davidson - dated January 5th, 2000 / see above - item (c);

Top: A cheque payable to Kinsman Robinson Galleries for a refund of $250.00
(+ GST) for a supposedly fake Robert Davidson painting purchased at Kahn Auctions in Pickering Ontario by Donald C. Robinson of Kinsman Robinson Galleries.
Click HERE to view the cheque's reverse side. /Click on image to Enlarge/
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Donald C. Robinson of Kinsman Robinson Galleries was once an active attendee and bidder at Kahn's Country Auctions in Pickering Ontario starting in September 1999 up until March 2000. It is important to mention that Donald C. Robinson was the underbidder on numerous genuine Norval Morrisseau paintings sold at Kahn's Auctions as those presented on The Canadian 'Anglo-Boer War' Museum' - online edition (click HERE). These paintings are now owned by 'Anglo-Boer War' Museum' had Donald C. Robinson as the underbidder at the auction and were later labeled as "Inferior Counterfeit Morrisseaus" by Ritchie R. Sinclair a.k.a. Stardreamer (click HERE). These auctions were hosted by Mr. Randy Potter (see 'Exhibit No. 20').
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Mr. Robinson's peculiar behaviour will be highlighted here in this addendum with new supporting evidence that has come to light. As stated in this wxhibit we have shown clearly that Mr. Robinson had purchased 28 genuine Norval Morrisseau paintings at Kahn's Auctions with the original receipts. As stated before Donald C. Robinson was responsible 14 months later on May 18th 2001 for launching a slanderous market espionage attack article that would appear in the National Post newspaper (see 'Exhibit No. 5'). In this newspaper article we have a Donald C. Robinson attacking the auctioneer Mr. Randy Potter and the paintings at this auction for being forgeries which Donald C. Robinson gladly and feverishly purchased. We have made it clear that Mr. Robinson never tried to ask for a refund of the 28 paintings of said 28 artworks from the auctioneer Mr. Randy Potter? However, a refund of $250.00 +GST totaling $267.50 was made by Mr. Potter to Donald C. Robinson in regards to a 'Robert Davidson' painting dated 1975 (see above). We now have the image file of the original 'cheque' issued to Donald C. Robinson by Randy Potter's Kahn's Auctions in this matter.
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* The unbelievable and strange behaviour that we have exposed here is in regards to the fact that Donald C. Robinson of Kinsman Robinson Galleries requested a refund on a lesser painting supposedly done by Robert Davidson for $267.50 but allowed himself to incur a loss of $53,238.73 including GST from the purchases of 28 genuine Norval Morrisseau paintings. Which he would slander and defame 14 months later in a National Post Newspaper article dated May 18th 2001 as being all fake paintings that he had purchased from Randy Potter and never requesting a single dollar back from Mr. Randy Potter on the 28 paintings that he had purchased? /see 'Exhibit No. 5'/
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~ Continued on: Norval Morrisseau Conspiracy Unveiled (Part VI) ~

"WE ARE ALL ONE IN SPIRIT" Norval Morrisseau

"ALL THE INFORMATION PRESENTED ON THIS PLATFORM FROM ITS INCEPTION IS BASED ON DATA COLLECTED FROM THE PUBLIC DOMAIN AND OTHER VERIFIABLE SOURCES."

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