Métis sashes, dates unknown, Collection of Glenbow.

Collections Visit: Tegan Whitesel

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Recently, Glenbow welcomed mixed Métis and settler artist Tegan Whitesel for a visit to the museum’s collections, where she explored Indigenous beadwork and more. We spoke with Tegan about her visit and her artistic practice.
 
Welcome, Tegan! Tell us a bit about yourself and your beading practice.

My name is Tegan Whitesel and I am a mixed Métis and settler artist living in Kimberley, BC on the unceded territory of the Ktunaxa peoples. I am Métis on my father’s side. My family names are LaPlante, Desfonds, LeFort, and Belleau. 
I began beading in 2021 through a mentorship with Lynette LaFontaine. I have since learned moccasin making and tufting and have taught myself silversmithing to incorporate into my work. My practice is a way for me to connect with my ancestors and plants and to heal. I love working with traditional designs and materials and blending them with contemporary interpretations.

Growing up in the bush, I have always had a strong connection with plants and the cycles of nature. My art practice primarily focused on painting for many years, specifically painting flowers. I was always so intrigued by the idea of turning my designs into beadwork. I am so honoured to have learned this beading and to be able to share it.

Artist Tegan Whitesel holding a Métis sash, date unknown, Collection of Glenbow.
Artist Tegan Whitesel holding a Métis sash, date unknown, Collection of Glenbow.
Tegan Whitesel, Mothers, 2024.
Tegan Whitesel, Mothers, 2024.

What made you want to visit Glenbow’s collections?

I was working on a series of pieces surrounding the birth of my first child. I received funding from the BC Arts Council and wanted to make sure I could visit some ancestor pieces as part of my healing and for inspiration. I saw beadwork at Glenbow prior to learning beading so I wanted to revisit with this knowledge. Seeing ancestor pieces in person allowed me to feel the energy of the people — specifically women — who created them and look at old design motifs. The visit and my work on the birth series had me thinking about mothers, mothers’ work, women’s work, passing on knowledge, and passing on trauma. It was intense. 

How has your visit to Glenbow influenced your beading practice?

I think I was expecting to be inspired mostly from an aesthetic lens, but what actually happened was an intense emotional and spiritual reaction. The collections to me are a strange place. I think I was feeling a lot of cognitive dissonance. I am still trying to unpack it.

From a design standpoint, I found lots of the pieces were so full of movement and organic. I think my beading tends to be a bit more rigid, which is odd because I paint in a more organic way. When working on a large piece for the birth series, I tried to let go a little bit more and let the beads flow, using multiple colours and taking chances on more experimental designs.

Tea cosy, date unknown, Collection of Glenbow.
Tea cosy, date unknown, Collection of Glenbow.
Bag, date unknown, Collection of Glenbow.
Bag, date unknown, Collection of Glenbow.

Were there items in Glenbow’s collections that resonated with you?

I became quite emotional when I saw the sashes. Being in the collections was overwhelming. I was excited and nervous and just in awe. There is a complex energy seeing handmade work in drawers, knowing they are being well taken care of and honoured, but sad to see them not in use or in family homes. When I saw the sashes, I think it all just bubbled over and I began to cry.

I have started making a sash on a loom with thick yarn, but seeing these sashes with their incredibly fine thread, their length and knowing the work that went into them, I was astonished. It was kind of like seeing a celebrity or meeting your hero. I was so grateful for the conversation and smudging medicines offered by Calista Burnett [Glenbow’s Curatorial Assistant, Indigenous Studies & World Cultures].

The other pieces that really stood out were a Métis quillwork tea cozy. Its symmetry was stunning, and you could see it was well loved. There was an Anishinaabe piece bag covered in roses and rose buds, which are one of my favourite things to bead, and I was drawn to the movement the artist created.

Lastly, while looking for octopus bags [Métis bags with tentacle-like tabs used for carrying fire-starting tools, tobacco, pipes, and ammunition; also known as fire bags], I found a small colourful Anishinaabe bag covered in colourful beadwork with so many different flowers, leaves, vines, and mouse tracks. Its finishings had a “more is more” feel — including pop poms, tassels, crow beads, wrapped bead and picot bead edging — but it was so small, cute, and full of joy! I completed an octopus bag last year and loved seeing a smaller fire bag full of life. Maybe I will create something like this for my next large project.
 
Thank you for visiting, Tegan!

Maarsii for having me, Glenbow! Can’t wait to come back. 
 
Glenbow is committed to fostering reconnection with cultural belongings stewarded by the museum. If your community has belongings stewarded by Glenbow that you would like to visit, please contact us at collections@glenbow.org to arrange a visit.

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