This work discusses many aspects of the interconnectedness of all life. The Home Fire (society), the Stars (Sweat Lodge Elements), the Tipi Poles (each has a teaching on how to behave as thinking human beings), rocks around the tipi bottom (a woman’s skirt; modesty), the rope binding the tipi poles (we hold our life together) and the lovely plant life that provides medicine and food for all. —Chholing

Chholing Taha was born in Ontario near the Six Nations Reserve to a Cree mother and who she thinks was likely a Mohawk father, because she spent her earliest years on the reserve among the Mohawk tribe. When she was just 3 years old her mother disappeared, and she was left in a rooming house on the U.S. – Canadian border, soon to be adopted out to a non-Native family. To this day she does not know what happened to her mother. And yet her intense early memories of her mother and the reservation have shaped her entire life and artistry: “I think that for Indigenous people, when they get displaced, and they have a few memories of where they were from, they hang on to them. You’re afraid you’re gonna forget them, and you just hang on to them really hard.”

Taha started drawing when she was a very small child, and as she grew up feeling like she didn’t belong in the mainstream world nor quite in the Native world, she feels she always carried within her what she refers to as a special lens. Resolving her two-worlds experience became for her a kind of mission, leading her to get involved in ceremonies like the sun dance, traditional night lodges, fasts and sweats, which helped her to such an extent that without ceremony, she really doesn’t know quite where she would’ve ended up. “The ceremonies were like a life preserver, and my internal spirit or being or lens recognized that life preserver, and I was able to grab onto it. Being in ceremony, suddenly through that lens you have, all becomes crystal clear.”

Taha’s art strives for us to focus our lenses, just as she focuses her lens through her very practice. Hers is a holistic artistic practice striving to communicate and commune with her own heritage and experience, at the same time encouraging others to find understanding and resonance with their own lived and inherited experience. “Wisdom finally comes when we realize we’ve all been affected by colonialism,” she sagely remarks. “[Not everyone] thinks they’ve been affected, but they certainly have, intensely.” Ultimately, Taha’s art emboldens us to align our own lenses so that we might open ourselves up to better understanding our own experience in the world.

by Will Fraser, Birchbark Books and Native Arts