Creative and Critical Studies, Faculty of (Okanagan)
DSpace
UBCO
Khan, Heraa
Master of Fine Arts - MFA
University of British Columbia
I Died as a Mineral is an exhibition and a written thesis that explores the connection between humans and the natural environment. It presents a series of paintings and a digital animation. The thesis begins as a cross-cultural investigation of the environmental calamities during my journey from Lahore, Pakistan, to Kelowna, Canada. The experience of living through smog, pollution and floods in Lahore parallel the similar consequences faced in the Okanagan Valley. These experiences prompt an exploration into these natural calamities as a result of our disconnection with nature. The study delves into cross-cultural concepts of interconnection and interdependence, acknowledging and honouring the traditional, ancestral, and unceded tmxʷúlaʔxʷ (land) of the Syilx Okanagan people who have inhabited this region since time immemorial. This acknowledgement provides a foundation for creative production, highlighting the interconnectedness of our world. The painting methodology used in this creative research fosters a profound connection with natural forms and the natural environment through creative transformation. Natural materials are used to craft art materials like paper, paintbrushes and paints. Incorporating handmade paints created from Indigenous knowledge of pigments and paint-making becomes an integral aspect of the artistic process. The painting process combines different painting styles, controlled and meticulous rendering with spontaneous gestures and various textures. The boundaries of traditional painting expand as the artwork transcends the confines of paper into the digital realm. The creative journey opens doors to a deeper understanding, sensitivity, and a profound connection with the natural environment. It serves as a testament to the intrinsic interconnectedness of all living things, highlighting the importance of our responsibility in nurturing and preserving our planet.
I Died as a MineralbyHeraa KhanB.F.A., The National College of Arts Lahore, 2012A THESIS SUBMITTED IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFMASTER OF FINE ARTSinTHE COLLEGE OF GRADUATE STUDIES(Visual Arts)THE UNIVERSITY OF BRITISH COLUMBIA(Okanagan)August 2023© Heraa Khan, 2023iiThe following individuals certify that they have read, and recommend to the College of GraduateStudies for acceptance, the thesis entitled:I Died as a Mineralsubmitted by Heraa Khan in partial fulfilment of the requirements forthe degree of Master of Fine Artsin Visual ArtsExamining Committee:Dr. Aleksandra Dulic, Faculty of Creative Studies, Media Studies, Visual ArtsSupervisorBriar Craig, Faculty of Creative Studies, Visual ArtsSupervisory Committee MemberTania Willard, Faculty of Creative Studies, Visual ArtsSupervisory Committee MemberiiiAbstractI Died as a Mineral is an exhibition and a written thesis that explores the connection betweenhumans and the natural environment. It presents a series of paintings and a digital animation. Thethesis begins as a cross-cultural investigation of the environmental calamities during my journeyfrom Lahore, Pakistan, to Kelowna, Canada. The experience of living through smog, pollutionand floods in Lahore parallel the similar consequences faced in the Okanagan Valley. Theseexperiences prompt an exploration into these natural calamities as a result of our disconnectionwith nature. The study delves into cross-cultural concepts of interconnection andinterdependence, acknowledging and honouring the traditional, ancestral, and uncededtmxʷúlaʔxʷ (land) of the Syilx Okanagan people who have inhabited this region since timeimmemorial. This acknowledgement provides a foundation for creative production, highlightingthe interconnectedness of our world. The painting methodology used in this creative researchfosters a profound connection with natural forms and the natural environment through creativetransformation. Natural materials are used to craft art materials like paper, paintbrushes andpaints. Incorporating handmade paints created from Indigenous knowledge of pigments andpaint-making becomes an integral aspect of the artistic process. The painting process combinesdifferent painting styles, controlled and meticulous rendering with spontaneous gestures andvarious textures. The boundaries of traditional painting expand as the artwork transcends theconfines of paper into the digital realm. The creative journey opens doors to a deeperunderstanding, sensitivity, and a profound connection with the natural environment. It serves as atestament to the intrinsic interconnectedness of all living things, highlighting the importance ofour responsibility in nurturing and preserving our planet.ivLay SummaryI Died as a Mineral is an exhibition and written thesis through which I delve into the naturalworld of the traditional tm xʷúlaʔxʷ (land) of the Syilx Okanagan people and our connection toit. The unbridled desire of humans to succeed and advance has disrupted the essential tenet ofcoexistence between the realms of humanity and the natural world, causing an imbalance that hasled to ecological catastrophes and environmental calamities. My creative research investigatesthe ruptured connection with nature affecting the well-being of humans and the naturalenvironment.vTable of ContentsAbstract..........................................................................................................................................iiiLay Summary................................................................................................................................ ivTable of Contents........................................................................................................................... vList of Figures................................................................................................................................viAcknowledgements......................................................................................................................viiiDedication...................................................................................................................................... ixChapter 1: Introduction...............................................................................................................11.1 Creative Research.................................................................................................................... 4Chapter 2: Background............................................................................................................... 8Chapter 3: Creative Process........................................................................................................19Chapter 4: I Died as a Mineral................................................................................................... 29Chapter 5: Conclusion................................................................................................................. 56Bibliography................................................................................................................................. 65viList of FiguresFigure 1: Gray Skies...................................................................................................................... 3Figure 2: City of Kelowna............................................................................................................. 3Figure 3: Bahmi Raabta (Interconnection).....................................................................................19Figure 4: Studio..............................................................................................................................20Figure 5: Studio..............................................................................................................................22Figure 6: Recycling Guide............................................................................................................. 25Figure 7: Recycling Guide, detail.................................................................................................. 25Figure 8: a time in nature............................................................................................................... 26Figure 9: The Choice..................................................................................................................... 27Figure 10: Gallery view................................................................................................................. 29Figure 11: Gallery view.................................................................................................................30Figure 12: Polluted Water..............................................................................................................30Figure 13: Flood in British Columbia............................................................................................ 32Figure 14: Gallery view................................................................................................................. 33Figure 15: Selaab...........................................................................................................................33Figure 16: Water, sun & earth........................................................................................................35Figure 17: Water, sun & earth, detail.............................................................................................35Figure 18 : Raging water................................................................................................................36Figure 19: Habitat loss................................................................................................................... 36Figure 20: Forest and Fields, Concret and Steel............................................................................ 38Figure 21: A new world................................................................................................................. 38viiFigure 22: Loss of Land................................................................................................................. 39Figure 23: Ravaging.......................................................................................................................39Figure 24: Lost connection.............................................................................................................42Figure 25: Lost connection, detail..................................................................................................42Figure 26: Gallery view..................................................................................................................44Figure 27: Havoc............................................................................................................................44Figure 28: Okanagan...................................................................................................................... 45Figure 29: Ecological destruction...................................................................................................45Figure 30: Kelowna........................................................................................................................46Figure 31: Interference...................................................................................................................48Figure 32: equilibrium crumbles.................................................................................................... 49Figure 33: equilibrium crumbles, detail......................................................................................... 49Figure 34: Gallery view................................................................................................................. 51Figure 35: earth becomes depleted.................................................................................................51Figure 36: endlessly repeating itself.............................................................................................. 52Figure 37: endlessly repeating itself, detail....................................................................................52Figure 38: all creatures flourish together....................................................................................... 53Figure 39: all creatures flourish together, detail............................................................................ 53Figure 40: all creatures flourish together, detail............................................................................ 54Figure 41: Gallery view..................................................................................................................57Figure 42: Gallery view..................................................................................................................59viiiAcknowledgementsI want to express my gratitude to my supervisor Dr. Aleksandra Dulic whose empathy, supportand guidance carried me through all stages of my MFA journey. I would also like to thank mycommittee members Tania Willard for allowing me the flexibility I needed and Briar Craig for histime and feedback.Special thanks and love to my amazing son Shahwali, for being my little cheerleader and formaking every step of this journey more meaningful. To my parents and brother, without you, noneof this would be possible.I want to thank the traditional, ancestral and unceded territory of the Syilx Nation and itscaretakers for the opportunity to research in the Okanagan.ixDedicationTo my precious son Shahwali, who fills my world with endlesslove and wonder.1Chapter 1: IntroductionIf I toss up the word ‘Lahore’ and close my eyes, the city conjures up gardens andfragrances. Not only the formal Mughal Gardens with their obedient rows of fountainsand cypresses, or the acreage of the club-strewn Lawrence Gardens, but the gardens inthousands of Lahori homes with their riot of spring flowers. The trees bloom in a carnivalof jewel-colours— the defiant brilliance of kachnar, bougainvillea and gulmohursilhouetted against an azure sky. And the winter and spring air are heady—they make theblood hum. (Sidhwa xi)I was born in Lahore, Pakistan and lived there most of my life. Lahore, as described in"City of Sin and Splendour - Writings on Lahore" by Bapsi Sidhwa, was once famouslyknown as the city of gardens. Her description of the city lends voice to my happy andblissful memories of Lahore spent outdoors in gardens, parks and playgrounds. Houses,alleys and roads all flanked with ancient verdurous trees offering varying colours andaromas throughout the year. However, with the passage of years, the increase in populationand traffic took its toll, and as an adult, I witnessed my city being shorn of trees andgreenery to make room for mortar and brick structures. Sidhwa's details of flora and faunaand the spirit of my city can only be remembered as a dream now. The warm, cozy,comforting sun is clouded over by dense, sometimes impenetrable gray and dusty smog. Weare advised by health organizations each winter season to stay indoors as outdoor activitiesin the smog are detrimental to health. Stores sell out of face masks as my city repeatedlytops the ranking of2the most polluted city in the world. Despite taking all measures to keep ourselves safe from toxicair, we all remain vulnerable and distressed.Living in Lahore I have also experienced disruptive seasonal changes and increasedflooding, bringing life to a standstill. Floods in the monsoon season cause considerableinfrastructural damage. Certain parts of my city experience isolation from electricity, mobilesignals, and the internet for days on end. I witnessed a part of the devastation caused by theseoverwhelming floods when my car disappeared beneath the water, which made me feel directlyimpacted. Tragically some people even lose their life during the flood season.In 2021, amidst the pandemic and the annual environmental disasters in Lahore, Iwas fortunate to take an opportunity to study at UBC Okanagan to pursue a Master of FineArts. The Department of Creative Studies in the Faculty of Creative and Critical Studies (FCCS)is located on the traditional, ancestral and unceded territory of the Syilx Okanagan Nation. Syilxpeoples have been stewards and caretakers of this territory since time immemorial. I am gratefulfor being allowed to engage in art research, in the Syilx Okanagan context.I was eager to spend the next two years away from the distress of environmentalcalamities in Okanagan's clean and healthy atmosphere and green natural environment.Before moving, I read all about Okanagan's fresh blue water lakes, rolling hills, trails inlush green forests, lavender fields, luxuriously bright and sunny days and a sky so clear andblue that it resembles an ideal landscape painting. I was thrilled at the thought of living soclose to nature and experiencing a direct connection with it.3Fig 1.Gray Skies, gouache on handmade vasli paper, 2022Fig 2: City of Kelowna, 24-k gold leaf, natural pigments and gouache on handmade vasli paper, 20224When I arrived in Canada, I had to quarantine in another city before taking my flightto Kelowna. While I was in quarantine, my husband, while flying directly to Kelowna, gotstranded at the airport for three days because of the blanket of smoke and pollution that hadsettled over the Okanagan valley from a series of fires that occurred that summer. I was toldthat the fires were severe and spread quickly. At that time, an acquaintance already inKelowna shared a picture of the city's sky. The blue skies I had read about were cloudedwith gray, black and apocalyptic fumes. From my experience, I knew that losing the colourblue in the atmosphere could only mean one thing: the air is polluted, and the environmentis unhealthy. At that moment, I felt disappointed and sorrowful. It felt like no region on thisplanet was safe from environmental disasters. After the initial shock, I took to my art anddrew upon this grief to make connections with the environment and create two works of arttitled Gray Skies (Fig 1.) and City of Kelowna (Fig 2.) Gray Skies is about smoke andpollution in the air, while City of Kelowna is about my first impression of the city of Kelowna.1.1 Creative ResearchExperiencing the effects of smoke, fire, smog, and floods in two vastly different regionsof the world, deeply affect me. These experiences make me feel helpless and I often find myselffeeling overwhelmed by the state of our planet. In such times I find myself asking, how do wefind hope? During my creative research I constantly think about how my research can invitethought and reflection in difficult times. I think about how I can use my art to make connections;wider cross-cultural connections and more intimate and personal connections. I think about ourinterconnected world and how it affects our well-being. And I think about the relationships wehave with each other and the natural world. These reflection prompt me to ask the following5question:How can visual arts, through the lens of interconnection, enable us to create meaningfulconnections with the environment to achieve environmental and human well-being duringanthropogenic climate change?My research in Okanagan allows me to cultivate a greater sensitivity towards the naturalworld and delve deeper into understanding our interconnectedness with it. The relationshipbetween humans and the natural world is based on a deep bond of interconnection andinterdependence. However, when this delicate balance is disrupted because of humanity’sunrestrained pursuit of progress and prosperity, it disrupts the fundamental principles ofcoexistence, leading to ecological catastrophes and environmental crises. In such circumstances,restoring our ailing environment becomes imperative as we are responsible to create a safe andharmonious habitat for future generations. This responsibility is guided by The SeventhGeneration Principal, which teaches us to consider the well-being of those in the world sevengenerations into the future (Lyons 47). It urges us to recognize that we are part of aninterdependent web of life, where the well-being of future generations is intimately connected tothe choices we make today.During my research I explore leading voices, creative voices and creative practices that talkabout connections. I explore ideas by the spiritual leader Karamapa, Jalauddin Rumi and JeanetteArmstrong, each in their unique way highlight the power of connection and the power ofinterconnection. By exploring these cross-cultural ideas my aim is to acknowledge and give respectto the diverse perspectives and knowledge systems that different cultures bring to the table. I also6explore contemporary artists and art practices that open a dialogue, a two-way conversation aboutwhat is happening in our world today. Visual artists, David Wilson, Yun-Fie Ji and Imran Qureshiuse a diverse range of expressions and mediums to provoke, question and challenge the state of ourplanet. Their work acts as a mirror that reflects the complexities of our time. It captures anxietiesand concerns, but most importantly it captures hope for a better future. I then moved on to observemore intimate connections; connections that I build with objects and materials found in nature. Thisphase in my research allows me to contemplate on the importance of nature in our lives. I work withnatural materials like wooden sticks, feathers, seashells, natural pigments, gum arabic to craft toolsto paint with and to paint on. All these materials, have their unique textures, colors, and shapes, andthey all hold stories of their own. I spend a lot of time cleaning them, observing them, preparingthem and appreciating their beauty and the stories they carry. When I engage with natural materialsit becomes a form of conversation, a dialogue between myself and the materials. I contemplate theirpurpose in the interconnected world, and the cycles of birth, growth, and transformation. Throughthis engagement, I evoke a sense of reverence and appreciation for the environment. Lastly, I lookback at history and make connections with our shared history across cultures. I look at how we canlearn from the past, looking at both the triumphs and the tragedies. I look at how we can discovercommon threads that unite us across cultures and generations. I discover that our shared history isintertwined, and our destinies are interconnected. I also discover that by learning from the past, wecan work towards a future that is built on equality and respect for all living and non living things.This respect for all living and non-living things is informed by Syilx concepts andideologies such as the concept of tmxúlaʔxʷ, which views the land as a dynamic system. Thisconcept acknowledges the deep connection between the land and everything that lives andinteracts on it (Armstrong 150). It acknowledges the human responsibility to maintain, care for,7and respect the relationship within the natural world. Exploring Syilx principles in my creativeresearch enables me to learn from their deep respect for the Earth, emphasizing the importanceof maintaining harmony and balance in our connection with the natural environment as a way tomove forward towards a sustainable future.8Chapter 2: BackgroundThe first chapter expressed the purpose behind the body of work and the events thatshaped its artistic creation. The second chapter explores creative processes, literature, poetry, andthe work of scholars and creative individuals from around the globe, which inspire and contributeto the development of ideas and methodologies. It identifies common threads of interconnectionacross different cultures, transcending geographical, social and cultural boundaries. The focus lieswithin appreciating the diversity and intricacies of our world while seeking connections betweenhumans and the environment through shared concerns and human condition. The chapter beginsby examining The Kramapa, Ogyen Trinley Dorje's insights on interdependence and itsimplications for our relationship with the environment. Carolyn P. Egri's perspectives on ourcomplex and sometimes conflicting relationship between humanity and the natural world arediscussed, emphasizing the importance of establishing a spiritual connection with nature. Thechapter investigates this spiritual connection through the lens of Jalaluddin Rumi's poetry, whichhighlights the transcendence of human construct and boundaries in genuine spiritual experiences.Jeanette Armstrong’s ideas are also explored, particularly in relation to the Syilx Okanagancontext and the concept of interconnection. Lastly, the creative practices of three contemporaryartists, David Wilson, Imran Qureshi, and Yun-Fei Ji, are examined, each reflecting differentaspects of interconnection and its relevance to the modern world’s relationship with nature.Today’s modern world, no doubt, is seeing many significant technological and scientificachievements, however, the same achievements are impacting the long-term well-being of thenatural environment. The health of the natural environment has become an important9conversation of our time. The Kramapa, Ogeyn Trinley Dorje, head of one of the four primaryschools of Tibetan Buddhism, explores this conversation as a global issue through the lens ofinterconnection. In his book Interconnected: Embracing Life in Our Global Society, Karmapatalks about how global societies should work in concert with realities of interdependence andexplores the interdependence of human beings and the planet. We mostly think of how naturalphenomena like earthquakes, blizzards or floods impact us as humans, but increasingly we needto think about how we humans and our actions affect the natural world. Not only do we impactthe natural world, but some of our activities have adverse effects and cause harm, making ituninhabitable. The Kramapa uses a Buddhist analogy to describe this relationship where thenatural world is described as a container, and all beings are described as contents of the container.He further explains that the word used for contents in Tibetan means nutrition. For example, thecarbon dioxide we exhale acts as a nutrient for the natural world, and in return, nature providesus with an environment necessary for survival. This analogy explains that our relationship withthe natural world is that of interconnection, where interdependence works both ways. If wedamage the earth, we will harm ourselves in return. “When the contents are corrosive, theydamage the container” (Karmapa 29). The Buddhist analogy enables a comprehensiveunderstanding of interdependence, transforming it from a mere idea into something deeply felt. Itallows for a broader perspective on my personal encounters with smog and pollution. It alsohelps recognize the fact that the planet sustains human life and our well-being is intricatelylinked to its preservation.This interdependence explained by Kramapa is described as a love-hate relationship byCarolyn P. Egri, In Spiritual Connections With The Natural Environment: Pathways for GlobalChange. She says we depend on nature for oxygen, water, food and other resources. In return,10the natural environment reciprocates by consuming our waste products and providing spiritualand emotional sustenance. However, the same natural environment also causes destruction anddeath, reminding humans of their mortality. Egri describes this interconnection as the intricateweb of life and explains that one aspect of this web of life is to find spiritual meaning and thepurpose of life within nature. Egri explains that there is no denying that the modern industrialage has provided us with many technological achievements. However, humans are destroyingnature at an unprecedented scale and rate, resulting in ecological crises. She states that what weneed is a new beginning, which is centred on the sacredness of the planet. We need to be awareof our physical connection with the environment and our spiritual connection. To bring effectivechange to this ecological crisis gaining a spiritual connection with the natural environment goeshand in hand with other cognitive and behavioral initiatives that have been envisioned. From themany examples of nature-centred lessons Egri shares in her article, the one that stuck with me isabout the two interdependent forces, the yin and the yang, that are part of teachings in Taoism.The interdependence of yin and yang can be seen in many aspects of the natural world, such asthe cycles of day and night and the changing seasons. It is also reflected in the human experience,where opposites such as joy and sorrow are seen as interdependent and complementary. Taoismteaches us that achieving harmony and balance with the natural world involves embracing theinterdependent and complementary nature of all things.In harmony with the Taothe sky is clear and spacious,the earth is solid and full,all creatures flourish together,11content with the way they are,endlessly repeating themselves,endlessly renewed.When [humanity] interferes with the Tao,the sky becomes filthy,the earth becomes depleted,the equilibrium crumbles,creatures become extinct.—Lao Tzu (1989, p. 39)This narrative expressed by Lao Tzu (old master) serves as the foundation for mycreative work. It highlights the delicate balance of natural order and potential disruption anddisorder that can arise from interference. The narrative evokes a deep sense of sensitivity,reverence, and respect for the natural environment. This same respect is reflected in the poetry ofthe Persian poet, scholar and Sufi mystic Jalaluddin Rumi. In his poems, Rumi frequently usesimages of nature to convey spiritual and emotional concepts and emphasizes theinterconnectedness of all living things. He views the natural world as a reflection of the divineand believes humans can find spiritual enlightenment by observing and connecting with nature.In his poetry, he celebrates the beauty of flowers, the majesty of mountains, and the power of thesea, urging us to seek guidance from nature on our spiritual journey. In the following verse Rumiexplores the theme of transformation and spiritual rebirth, which ultimately leads to thetranscendence of the self:I died as a mineral and became a plant,12I died as a plant and rose to animal,I died as animal and I was man—Jalaluddin RumiThe verses reflect the concept of transformation and the cyclical nature of existence.Rumi describes the progression of life through various stages of being: from a mineral to a plant,from a plant to an animal, and from an animal to a human. Each transformation signifies a deathof one form and a rebirth into another, symbolizing the continuous cycle of life and evolution. Byembracing the cycles of nature, Rumi reminds us that we are part of a greater cosmic rhythm,where life and death are intertwined, and each transition brings us closer to a higher state of being.The poem also emphasizes the interconnectedness of all living forms and suggests that the soul'sjourney is an integral part of the larger tapestry of existence. These ideas by Rumi encourage us tofind comfort in the cyclical nature of life, to let go of the fear of change and embrace thecontinuous process of growth and evolution. They also foster a sense of harmony and balance andhonour our interconnected world. Rumi's poetics of a connected world reflects the principlesembedded in the stories, knowledge, teachings and ceremonies of the Syilx Okanagan people. InLiving Earth Community, Multiple Ways of Being and Knowing, Dr. Jeannette Armstrong writes:In the Okanagan, our understanding of the land is one in which we are not just part of theland, nor just part of the vast system that operates on the land, but that the land is us. Inour language, the word for our bodies contains the word for land...Therefore, every time Isay the word for my body, I am reminded that I am from the land. I’m saying that I’m fromthe land and that my body is the land. (Armstrong 164)13Armstrong’s reflections act as an introduction into the values linked to the notions ofinterconnection within the Syilx Okanagan context. The concept of interconnection is at the coreof the Syilx people’s view of the world, where the environment is perceived as a living andbreathing entity. Central to this perspective is the principle that for the environment to thrive,equal care and respect must be extended to all beings, human and non-human alike. Theunderstanding prevails that not only is everything on earth connected, but everything also greatlydepends on one another. If any part of the interconnected system is abused or misused, it willadversely impact the whole system.In the exploration of the concept of interconnection within the Syilx Okanagan context, asignificant discovery unfolds - the artistic contributions of David Wilson, an artist from SyilxOkanagan. Wilson’s artwork reflects a deep understanding of the interconnection betweenhumans and the natural world while also honoring his cultural heritage. His vibrant acrylicpaintings depict the intricate relationship between humans and their environment. In an interviewconducted by David Wylie, Wilson explains his journey of discovering Indigenous artwork andfinding inspiration in the pictographs documented in anthropology books at the Vernon Museum.The incorporation of pictographs into his artwork becomes a means to express his own culturalidentity. His current work draws from traditional motifs and indigenous stories and imagery.In 2013 Wilson exhibited his works in a solo show at Headbones Gallery in Vernon, BC,where he displayed a painting titled Woman Created by a Piece of Wolf’s Tail, 2013.1 Thisparticular artwork resonated deeply with my creative research. It depicts an idealizedlandscape, with a blue sky, hills and a lush green forest, much like Okanagan's landscape. Wilsonuses vibrant colours and linear forms in his composition. Rather than rendering the landscape in1 https://www.headbonesgallery.com/David_Wilson/David_Wilson_Headbones_ecatalogue.pdf)14a traditional light to dark manner, he divides tones and hues into bands and stripes, creating acaptivating transition. The painting also plays with shapes and geometry, while its circularcomposition reflects the Indigenous belief that everything is a circle with no beginning and end.These artistic elements, such as vibrant colours, linear forms and stylization, parallel my paintingstyle, influenced by my Eastern roots. Discovering these shared aspects between my work andWilson's fosters a connection to his art and deepens my connection to the Syilx Okanaganenvironment.Having dedicated my life to studying the landscape of Lahore, I possess an intimateknowledge of its features. I am well acquainted with the shape of tree leaves and the golden tintthey acquire when bathed in sunlight. This deep familiarity with the natural elements enables meto effortlessly create stylized representations of the landscape. Initially, my experience in theOkanagan region felt unfamiliar, leaving me both physically and creatively adrift. I lackedsufficient understanding of the Syilx Okanagan environment to venture into expressing it or mysentiments towards it. However, discovering commonalities in Wilson’s artwork andArmstrong’s poetry allowed me to anchor myself in this new environment. Throughout my artistjourney, Wilson’s portrayal of the ideal landscape has been a profound source of inspiration.Within Wilson's ideal landscape, a woman is depicted riding on the back of a smiling wolf,while holding a snake in her hand. According to Julie Oakes, artist, and director of Headbonesgallery, the narrative draws inspiration from the Biblical story of the creation of a woman - thewoman is created from a man's rib and is tempted by a snake to eat an apple from the forbiddentree of knowledge. She is punished and expelled from the Garden of Eden when she does so.However, as the title suggests, in Wilson’s interpretation, the woman is created from a part of ananimal. The smiling portraits of the woman and the wolf suggest they share a friendly15relationship. The woman’s warm gesture towards the snake also signifies a close relationship.Wilson’s painting resonates with my understanding of the Syilx Okanagan people’s deepconnection to the land, where humans coexist harmoniously with the natural world, maintaininga delicate balance.This equilibrium between humans and the natural world serves as an inspiration for theChinese artist Yun-Fei Ji. He draws his creative influence from the harmony of yin and yang. Jiuses traditional Chinese painting techniques, structures, and symbols of folkloric traditions toaddress contemporary social, environmental, and political issues. His artistic style is rooted inclassical Chinese landscape painting. In 2009 Ji used the historical woodblock-printed Chinesescroll format to create Three Gorges Dam, 2009 (Artwork can be viewed here:https://www.moma.org/learn/moma_learning/yun-fei-ji-the-three-gorges-migration-2009/).Spanning a length of 10 feet, the scroll confronts the devastation, flooding, and displacementcaused by the building of the Three Gorges Dam - the world’s largest hydroelectric power stationin China. The dam took two decades to build, uprooted, and displaced more than a million people.In To Life!: Eco Art in Pursuit of a Sustainable Planet by Linda Weintraub, Ji talks about howthe dam engulfed habitats of countless species of animals, birds and plants along with sites ofarchaeological treasures and family legacies. In addition, the people of China now live in dangerof landslides, waterborne diseases, dying fish and water contamination. Through his scroll, Jiaims to convey the emotions of the victims and contemplate the disruption inflicted upon thebalance of yin and yang. He observes that in traditional times, people acquired an understandingof the natural world’s cosmic law to forge a connection to it. However, in present, we havebecome disconnected with nature, regarding it as a source to exploit, extract profit from and useit as a dumping ground for our waste.16Traditionally, Chinese scroll paintings were not meant to be seen at once. The variousparts of the paintings were meant to be unrolled and revealed slowly. This method of engagingwith the scroll kept the viewer surprised. However, Ji deviated from this convention, displayinghis whole scroll unrolled. His intention was for the work to be viewed sequentially from left toright, allowing a narrative to unfold. The opening image shows a soft, delightful, poeticlandscape with mountains, trees, bamboo shoots and rocks. However, this tranquillity isdisrupted by the introduction of a tractor. As we progress through the scroll, we encounterdepictions of displaced families, bags filled with their belongings and impatient children,starving animals and uprooted trees. Mythological creatures and beasts also make theirappearance. The final scene depicts uniformed men patrolling the dammed river. Ji’s use of thescroll format served as a source of inspiration for my artistic endeavour. My painting style,characterized by its small scale and intricate detail, poses a challenge as I venture into workingon a large scale. Increasing the dimensions both vertically and horizontally would have meantcompromising on intricacy. However, Ji’s use of the scroll format sparks the inspiration toexpand the horizontal scale of the work. This allows me to explore the surface while preservingan intimate connection with my art. Along with using the scroll format from Chinese landscapepaintings, Ji uses traditional processes and materials rooted in the classical art style. Ji workswith mineral pigments on mulberry paper. His inks and pigments are derived from local Chineseminerals and vegetables. And the mulberry and rice paper are made in a traditional manner fromlocal trees. He uses paint brushes made from native sheep, fox, goat, wolf and horse hair. Jipoetically describes his artistic process as a form of meditation. While his visuals may evokenotions of death and destruction, his medium of choice carries the inherent energy and vitality ofthe natural world, creating a thought-provoking dialogue.17Imran Qureshi, a contemporary artist from Pakistan, explores the dialogue between lifeand death. Through his paintings and site-specific installation, Qureshi addresses thecomplexities of geopolitical turbulence and delves into bloodshed, destruction and life.Influenced by the classical style of miniature painting, his intricate paintings are splattered with acarmine red paint, resembling blood at first glance. However, upon closer inspection, the stainsreveal themselves to be an intricate arrangement of countless hand-painted flowers. Qureshi’swork invites contemplation on the paradoxical relationship between creation and destruction,highlighting the duality and interconnectedness of these contrasting forces.In 2013 Qureshi was commissioned by the MET Museum, NY, to create a roof gardeninstallation2. Qureshi transplanted the red blood stains and the floral landscape from theboundaries of his paintings to the architectural environment of the museum. The site-specificinstallation served as a poignant response to bombings in Lahore, offering a glimmer of hopeamidst the chaos and violence. The installation echoed Mughal gardens and the lush landscape ofCentral Park. The incorporation of contradictions and the references to Indo-Persian miniaturepainting tradition in Qureshi’s art has deeply influenced my creative journey. My interest inminiature painting was initially sparked by Qureshi’s teachings while he was my professorduring my Bachelors in Fine Arts at the National College of Arts Lahore. Miniature paintings arepaintings that were an integral part of manuscripts, used as a book cover or as an illustration totext. They became a significant genre in the 13th century in Persia. These paintings areexquisitely decorative and contain intricate detailing. Like Islamic calligraphy and illumination,miniature painting is also a form of traditional Islamic art. Famous example of this art form arethe Shahnameh and the Akbernama. Das (“Mughal Painting During Jehangir’s Time.”) and2 https://www.artnews.com/art-news/news/imran- qureshi-on-metropolitan-museum-roof-223218Valentiner (“Persian Miniatures.”) provide more information on this art genre. Since theintroduction of this unique art form during my BFA, I have embarked on a path of creativeexploration using the traditional style to express my concerns for the environment.Ideas expressed by The Kramapa, Tzu, Rumi, and Armstrong resonate with myenvironmental concerns. Similarly, artists Wilson, Ji, and Qureshi share similar creativeapproaches to address these concerns. Several visual characteristics in my paintings closelyreassembles the works of these artists. One main characteristic is the use of a stacked-upperspective, where multiple elements are piled one on top of the other to give an illusion of depthand distance. This technique is commonly seen in traditional Chinese landscape paintings andJi’s work. Another shared characteristic is the transformation of three-dimensional forms intotwo-dimensional representations. This involves capturing the essence of objects or subjects, andsimplifying them into a stylization of the subject matter, a technique prominent in Wilson andQureshi’s work. Attention to detail is another important aspect in my work, as well as all threeartist’s work. This involves meticulously drawing and rendering intricate elements, textures andpatterns. Lastly, Ji’s approach to working with natural materials resonates with my paintingtechniques and processes, as they both aim to establish a connection with nature. The cross-cultural ideas discussed in this chapter and the exploration of creative methods by artists fromdifferent parts of the world helps broaden my artistic sphere. They enable me to address theresearch question and highlight the intrinsic nature of interconnectedness of all things. They alsoraise important questions about life and death, creation and destruction, human actions, and thestate of our planet.19Chapter 3: Creative ProcessThe previous chapter explored a range of ideas, literature and creative practices that laid thefoundation for the research. This chapter delves into techniques and processes that embody theidea of interconnection. In addition, it focuses on three artworks that lead to the creation of thefinal series of works.Fig 3: Bahmi Raabta (Interconnection), mix media, dimensions variable, 2021, FINA GalleryFor this thesis, I will focus on a specific aspect of the creative processes: building intimateconnections with objects and materials found in nature to honor our interconnected world. As Imentioned in the previous chapter, I learned the techniques of Indo-Persian miniature painting inLahore, during my BFA. However, it was after I moved to Okanagan that I began to drawparallels between nature-oriented approach of miniature painting and the profound notions ofinterdependence present in the Syilx Okanagan culture. As I learned more about the ideologies20and teachings of the Syilx Okanagan people, I started to appreciate and value my artistictechniques and processes even more. The techniques and practices inspired by miniature paintingserved as a gateway to a world of silence and contemplation, where I found solace in connectingwith nature. Learning about the Syilx Okanagan's beliefs regarding the interwoven relationshipsbetween humans and the natural world resonated deeply within me, increasing the significance ofmy artistic research. Through this newfound perspective, my creative process took on a moreprofound purpose. It instilled a sense of responsibility to use my art to promote eco-consciousness and highlight the importance of preserving the natural world for future generations.Upon entering my studio, I purposefully leave my shoes outside the door, symbolizing atransition from the outside world into a space for creativity, respect and reverence. Choosing to siton the floor to work, has a grounding effect and cultivates a sense of humility. It allows for deepconnection with one’s surroundings and the earth beneath, akin to the experience of practicingyoga asanas on the floor.Fig 4: Studio, 2021, UBCO21The Qalam, the essential paintbrush for this craft, is meticulously created using natural materialsgathered from nature. The meticulous process of crafting the qalam includes venturing outdoorsto collect wood sticks, bird feathers and hair from squirrel tails. When a squirrel naturally passesaway, a small amount of hair from its tail is collected. The hair is then washed and placed on apiece of glass, and a needle is used to sift through each strand, removing any broken or damagedstrands. Next, the strands are brought together, tightly tying them with a thread andimmersing them in natural gum arabic to bind them together. This process brings to my mind theessence of the word Syilx - to intertwine, unify and bind together to make one strong whole.According to the online space First Voices, the word “Yil" is about taking action. It is abouttaking multiple elements and combining them into one unit. It means taking many strands of, forexample, hemp, rolling them and twisting them together to make one unit, something like a rope.The word Syilx contains a command for all human and non-human beings to bind and unify withone another continuously. This unification process continues by trimming the hollow shaft of abird’s feather and piercing a hole through its closed end. The tip of the squirrel hair is insertedthrough the hole, creating bristles and a ferrule. A wooden stick is then attached to the ferrule tocreate a handle. Lastly, the tip of the bristles is cut at an angle with a knife, creating a wonderfulfine tip. The fine tip is used to paint immaculate details and render paintings with the layering ofminute strokes.22Fig 5: Studio, 2021, UBCOSeashells, also known as seepi, play an integral role in the creative process. Seepi aremussel shells shaped like boats and serve as an ideal container for mixing and storing paint. In thecreative process, the seepi is utilized to combine water-based paints, allowing for convenientstorage of the paint. When the stored paint is needed, water is simply added to rehydrate it. Theuse of seepi is not only creatively beneficial but also environmentally sustainable. I have beenusing the same seepi for over ten years. After each use, I thoroughly wash them allowing them tobe repurposed for different paint colours. This sustainable approach reduces waste, aligning withmy commitment to minimizing environmental impact in my artistic practice. Another integral partof the unique process is to use the back of the hand as a palette to mix different colours. Theprocess of mixing paints on the hand is tactile and somatic and allows one to intimately connectwith the texture and consistency of the paint. The term rung is used to describe the paint. To23achieve a sense of depth and vibrancy, a minimum of ten to fifteen layers of the rung are applied.During my early years of learning miniature painting, I was taught to create paints from naturalpigments. However, because of factors such as accessibility, affordability and time constraints, Iwas using commercial gouache paints in my work. Taking advantage of the MFA program, Iaccess natural pigments from the art stores and dedicate time to grinding them finely, filteringthem with water and adding natural gum arabic as a binder to create paints from pigments.The first year of the artistic exploration reaches its culmination through extensiveexperimentation with various materials, including paints created with natural pigments, gouache,tea stains and ink. However, the process of making paint from scratch proves to be incrediblytime-consuming. As I transition into the second year of MFA, one of my instructors introducesme to Beam Paints, a collection of handmade paints crafted from natural pigments. Created byAnong Beam, the daughter of the late Indigenous artist Carl Beam, these paints embodyIndigenous knowledge of pigments while encompass all paint traditions. Anong Beam acquiredher expertise in collecting pigments from her parents during her childhood spent at the La Clochemountain range. Infused with a deep sense of love and reverence for the environment, hermeticulous processes ensure that the paints are packaged in sustainable, plastic-free manner.Incorporating Beam Paints enhances my artistic process and commitment to sustainable artisticpractice.The surface used in this creative process, known as vasli is also handmade. To preparethe vasli, multiple sheets of paper are carefully pasted together using a binder called layee,consisting of flour, copper sulphate and water. Exploring Beam Paint’s website results in thediscovery of a company offering handmade paper created by recycling cotton off-cuts fromclothing manufacturers. Recognizing the environmental benefits and the unique qualities of this24recycled cotton paper, I incorporate it into some of my artwork. By embracing this recycledcotton paper, I expand the range of materials in my creative practice, contribute to reducingwaste and promoting Eco-conscious artistic approaches.During the creative processes the exploration of the following question, How can visualarts, through the lens of interconnection, enable us to create meaningful connections with theenvironment to achieve environmental and human well-being during anthropogenic climatechange? serves as a reminder that within the essence of these organic, natural elements such aspigments, feathers, mussel shells, and gum arabic lies a sense of purpose. The intrinsicphilosophy that everything in this universe has a purpose and plays a vital role in the script of lifeenables a profound connection to these natural forms and an appreciation for their transcendentalqualities. These forms embody the fundamentals of existence. Through the process of collectingthese natural forms, dusting, cleaning, and washing them, the intricate details within eachform are accentuated. The tactile and visceral interactions with the natural materials evoke a deepsense of connection to our natural environment, creating pathways to experience wonder andgratitude.25Fig 6: Recycling Guide, 11.7 c 8.3 inches, mix media, 2021Fig 7: Recycling Guide, detail26The same sense of wonder and gratitude drives the process of photographing, recordingand documenting intriguing elements in the Okanagan. Discovering a discarded recycling guidein the new accommodation sparks the idea of repurposing it for artistic endeavours. The creationof the artwork Recycling Guide (Fig 6.) involves cutting two doors from the document andjuxtaposing them with images of garbage accumulation from my archives. The surface of thedoors is gilded with 24-k gold leaf and painted with a geometric pattern, symbolizing theinterconnected and infinite nature of life. The artwork Recycling Guide serves as a starting pointfor exploring the role of humans within the intricate web of life.Fig 8: a time in nature, 3 x 4 inches, mix media, 202127Fig 9: The Choice, 8 x 10 inches, tea stain and gouache on handmade vasli paper, 2021Continuing the exploration of the interconnection between humans and the natural world,a piece titled a time in nature (Fig 8.) is created. This artwork incorporates packaging materialalongside recycling symbols and landscape drawings, symbolizing the intertwining relationshipbetween human consumption and environmental sustainability. The concept for this artworkemerged during a solitary day spent at the Woodhaven Eco Culture Centre, a serene natureconservancy in Kelowna. The tranquil surroundings, vibrant colours of the autumn leaves andthe sensory experience of nature found expression in my art. An encounter with a deer near theEco Centre left a lasting impact, becoming an enduring image in a time in nature and somesubsequent works. This exploration of the intertwining of humans and nature serves as a momentof reflection on ideas presented by Kramapa in his book, and the creation of the artwork The28Choice (Fig 9.) Kramapa emphasizes the essential link between human activity, technologicaladvancements, and the well-being of our global society, highlighting the need for attunement toour interdependence.The creation of these works prompts contemplation on the repercussions of humanactions and the interconnection among all living species. With these thoughts in mind, the focusof the creative research shifts towards developing the final thesis exhibition, I Died as a Mineral.29Chapter 4: I Died As A MineralFig 10: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023In the previous chapter, an exploration of various ideas, artistic techniques and artmaterials was discussed as part of the creative methodology. Building upon these foundations,this chapter delves into the intricate details of the individual artworks created for the finalexhibition titled I Died As A Mineral. By delving into the development of each artwork and theprofound significance of the chosen title, this chapter allows the exploration of my creativejourney and a deeper understanding of the intentions and inspirations within the exhibition I DiedAs A Mineral.30Fig 11: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023Fig 12: Polluted Water, 9.5 x 6 inches, gouache on handmade vasli paper, 202131The creative production for the final exhibition begins immediately after the stay at theEco Centre. At the centre, sketching intricate drawings of flowing water by the creek brings easeand comfort to my soul. Water holds a special significance for me, evoking cherished memoriesof spending weekends by local lakes and rivers. However, the paradoxical relationship withwater during flooding season has added complexity to my work in recent years. Sketching thecreek prompts contemplation on the interdependence between humans and water. Furtherresearch on the significance of water in the Okanagan uncovers the Nysilxcen term Siwɬkw,meaning water. As stated in the A Syilx Strategy to Protect and Restore Siwɬkw (2021) by theSyilx Okanagan National Alliance, “Siw” means when human drinks and “ɬkw” means when ananimal drinks. The term conveys the belief that humans and animals have the right to water,reflecting the intimate connection of the Syilx Okanagan people with this sacred element. Waterholds deep cultural significance in their ceremonies and celebrations. Today, however, the healthof this sacred water is being affected because of ongoing development and pollution. There was atime when people could drink water straight from the creeks and Okanagan river. Preserving andprotecting the purity of this vital resource has become imperative in light of environmentalchallenges.The painting Polluted Water (Fig 12.) portrays the Okanagan Lake, in the OkanaganValley, embraced by Columbia and Cascade mountains. The artwork, focuses on the depiction ofdiscarded waste and plastic pollution that tarnished the sanctity of the Okanagan land.Representing the water’s condition and the impact of human actions becomes pivotal indeveloping various ideas and creating artworks for the final exhibition.32Fig 13: Floods in British Columbia, 12 x 14 inches gouache on handmade vasli paper, 2021Continuing to explore the theme of water, another distressing encounter with floodsunfolds, this time in British Columbia instead of Lahore. In 2021, the region faced a state ofemergency due to heavy rainfall, resulting in a series of floods. My husband, who was drivingfrom Vancouver to Kelowna at that time, got stuck on the Coquihalla highway, creating a lot ofpanic and distress within our family. To express this distress the painting Floods in BritishColumbia (Fig 13.) is created. The painting depicts a human figure standing in water, holdingtheir shoes, while rain descends from the sky. The intricate portrayal of the water with its finelines evokes a sense of beauty. However, the turbulent and undulating form of the water suggestsits powerful and potentially destructive nature. These contrasting elements of beauty and fragility,33order and chaos. establish a connection with the interconnectedness of existence, revealingthemes of vulnerability and impermanence.Fig 14: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023Fig 15: Selaab, 1 minute, digital animation, 2021, https://vimeo.com/manage/videos/81001008834The animation Selaab (Fig 15.) embodies these paradoxical notions of beauty and fragility.Selaab means flood in Urdu. It represents my first venture into digital animation. Using multiplepaintings created over the years as its foundation, it maintains the artistic qualities andmeticulousness found in my paintings. Through painstaking editing in Photoshop, variouselements from paintings are skillfully combined and layered across a three-screen composition.The central screen depicts water, and the two screens on the sides show a landscape with animals.Fragments from the painting Floods in British Columbia contribute to the depiction of the water.Adobe After Effects is used to animate the artwork presenting a significant challenge as it pushesthe boundaries of my artistic practice beyond the familiar realm of painting. The animationbegins with a serene landscape where leaves and flowers sway gently in the wind. Gradually thewater rises, submerging trees, flowers, rocks, and animals. Towards the end, the water recedes,revealing a thriving landscape once again. Loud, thrashing sounds of waves accompany thevisuals throughout the animation. During an artist talk, one audience member expresses theircaptivation with the moment when the water recedes, evoking a sense of hope and newbeginnings. This response humbles me and reinforces my exploration of the research question onhow visual arts, through interconnectedness, can foster meaningful connections with theenvironment, promoting environmental and human well-being amidst anthropogenic climatechange. The animation allows the audience to construct their meaning behind the work. It createsa moment of observation and reflection and opens a window of opportunity to consider hope andchange.35Fig 16:Water, sun and earth, 22 x 28 inches, natural pigments and gouache on paper, 2022Fig 17:Water, sun and earth, detail36Fig 18: Raging Water, 14 x 11 inches, natural pigment and gouache on handmade paper, 2022Fig 19: Habitat Loss, 14 x 11 inches, natural pigments and gouache on paper, 202237As the first year comes to an end and summer approaches, there is a strong desire torevisit memories of Lahore and reaffirm the motivation behind my work and environmentalconcerns. Drawing upon this nostalgia, a diptych, Water, sun, and earth (Fig 16.) is created toexplore personal experiences of environmental calamities in Lahore. The first part of the diptychis deep blue, depicting the annual flooding in the monsoon season. The second part is a brightyellow, representing the rise in temperature, pollution, and deforestation in the city. During thesame summer, my home country is devastated by an unprecedented flood. A region as big as thecountry of England drowns, causing immense loss and tragedy. I am devastated. Witnessing thistragedy from a distant land, fills me with profound emotions, translating into the creation ofRaging Water (Fig 18.). Those around me struggle to comprehend the magnitude of the disaster.Sharing facts and statistics only presents it as an abstract problem, happening in a distant part ofthe world - perhaps, similar to how I perceive the plight of polar bears on melting ice sheets. Thisawareness motivates the exploration of connections between experiences in the East and thediscoveries made in the West. A cross-cultural investigation into colonialism begins and theartwork Habitat Loss (Fig 19.) is created to establish these links. The painting depicts thedevastation of cutting down trees and forests to accommodate the expansion of railways. Thedevelopment of the railways fueled extraction of resources from both regions, affecting theforests and their diverse inhabitants.38Fig 20: Forests and Fields, Concrete and Steel, detail, 22 x 28, mixed media, 2021Fig 21: A New World, 11 x 14 inches, natural pigment, gouache on handmade vasli paper, 202239Fig 22: Loss of Land, 7.5 x 7.5 inches, 24-k gold leaf and gouache on vasli paper, 2021Fig 23: Ravaging, 11 x 14 inches, natural pigment, gouache on handmade vasli paper, 202240Out of the belly of Christopher’s shipa mob burstsRunning in all directionsPulling furs of animalsShooting buffaloShooting each otherLeft and rightThe clossi in which they trustwhile buryingbreathing forests and fieldsbeneath concrete and steel-Jeanette Armstrong`This excerpt from Armstrong's poem The History Lesson, sheds light on theenvironmental impact caused by European settlement and development. The poem talks aboutthe famous explorer Christopher Columbus who in the history books is credited for discoveringthe Americas and is seen as the forefather of the colonial expansion of the Americas. Armstrong41presents us with a depiction of the ship meeting land for the first time. Pulling furs of animals,highlights the destructive nature of the settlers, particularly in relation to the fur trade. The line,burying forests and fields beneath concrete and steel, symbolizes the detrimental consequencesof the colonial expansion, which exploited the land, depleted resources and harmed the naturalenvironment. The artworks Forests and Fields, Concrete and Steel (Fig 20.), A New World (Fig.21), Loss of Land (Fig 22.) and Ravaging (Fig 23.) are inspired by the themes explored in TheHistory Lesson. Forests and Fields, Concrete and Steel, is a diptych, with its title derived fromArmstrong’s poem. It incorporates two portraits: one depicting an Indigenous person surroundedby forests, rocks, animals and flowers, and the other depicting a European settler in a similarlandscape but intersected by Columbus’s ship, weapons and animal pelts. A New World, Loss ofLand and Ravaging continue the same narrative. Ravaging creates a circular composition centredaround the coexistence of life amid the destruction. This suggests the inseparable connectionbetween humans and the natural environment, highlighting the intricate web of life. The centre ofall destruction is life, in the form of a hybrid between nature and humans, suggesting thathumans are not separate but an integral part of the natural environment and the web of life. Theseartworks evoke a binary relationship between humans and nature, creation and destruction, lifeand death, prompting profound reflections on the state of our planet.42Fig 24: Lost connection, 11 x 14 inches, 24-k gold leaf, natural pigment, gouache on paper, 2022Fig 25: Lost connection, detail43As discussed in chapter 2, Egri proposes that strengthening our spirituality andconnection with nature is crucial to promoting positive ecological change. One way to enhancethis spiritual connection is through ancestral stories, which provide insights into our place in thecosmos and our interconnectedness with the natural environment. The artwork Interconnection(Fig 24.) is a celebration of the ancestral stories of Syilx Okanagan that contain knowledge,principles and teaching about the meaning of being of Syilx Okanagan. The artwork depictssignificant characters from these stories, including Turtle, Coyote, Black Bear King Salmon,BitterRoot, and Saskatoon Berry, symbolizing the intricate relationship of humans with thenatural environment. Of particular resonance is the story of the Four Food Chief, found withinthe story How Food Was Given. Each Chief embodies a distinct aspect: Black Bear representslaws, culture and tradition; King Salmon represents cultural practices related to siwɬkw;BitterRoot represents interconnection, while Saskatoon Berry represents the creative energyassociated with youth and future. Together these four chiefs unite their voices and perspectivesto foster a deep spiritual connection with the natural environment. The second part of thepainting mirrors the visual composition of the first, but its essence contradicts the idea of aspiritual connection with nature. It expresses the idea that the natural environment is a mirror ofhumans, when we abuse the environment, it responds detrimentally. Here a dialogue ofpermanence and impermanence is established between nature and human-made structures. Therise in technology has resulted in a significant spiritual disconnect. Ancestral stories like HowFood Was Given can open doors towards restoring and healing this disconnect.44Fig 26: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023Fig 27: Havoc, 11 x 14 inches, 24-k gold leaf, natural pigment and gouache on paper, 20224528:Okanagan, 11 x 22 inches, natural pigments and gouache on handmade vasli paper, 2022Fig 29: Ecological Destruction, 4 x 3 inches, natural pigments and gouache on handmade paper, 202246Fig 30: Kelowna, 7.5 x 7.5 inches, 24-k gold leaf and gouache on handmade vasli paper, 2022In the article, Land Aesthetics, Water and Settler Colonialism in the Okanagan Valley ofBritish Columbia John R Wagner delves into the impacts of disrupted systems of interconnection:“Unfortunately, over the last several decades the Okanagan has also become home to thelargest concentration of rare, endangered and threatened species in the Province of BritishColumbia. Figures released by the Provincial Ministry of the Environment in 2007 report thatthe area has 30 percent of the province’s red-listed wildlife species and 46 percent of its blue-listed species1 (British Columbia Ministry of Environment 2007b; see also Central OkanaganRegional District 2002; Environment Canada 2000). Since 2002 the Okanagan River has alsobeen classi- fied as one of Canada’s most endangered rivers (Rae 2005:1).” (Wagner 24)47This harsh reality presented by Wagner brings to mind how modern society contradictsthe fundamental principles of existence. The essential tenet of coexistence between the realms ofhumanity and the natural world has been disrupted, leaving Okanagan to grieve the loss of itshabitat. The paintings Havoc (Fig 27.), Okanagan (Fig 28.), Ecological Destruction (Fig 29), andKelowna (Fig 30) draw upon disturbances, human presence, and infrastructure development thatare impacting the population and habitats of plants and animals of Okanagan and causing a riskto their survival. Okanagan is renowned for its biological diversity and ecological significance,serving to a wide range of flora, fauna and animal species. The painting Havoc results fromresearch on wild inhabitants of the hills of Okanagan, deer, cougar, bear, salmon, geese, andbobcats. These inhabitants are integrated within the painted hills, alongside cookie-cutter houses,electricity poles and towering skyscrapers. The inclusion of skyscrapers references downtownKelowna. Subsequently, I discovered that not all parts of Okanagan have tall skyscrapers, andhills are characterized by a golden hue rather than green. Attempting to present anotherrepresentation of the Okanagan landscape, the artwork Okanagan depicts the golden hills andlush green trees, with wooden houses scattered in between. However, this idyllic scene is marredby the horrors of fire as the wooden houses engulf in flames. Drawing inspiration from theimpactful encounter with the deer at Eco Centre, Ecological Destruction echoes the lastingimpression of that experience. The painting portrays the majestic deer in the tragic tale of fearand panic, chased by bright orange flames against a charred background. Kelowna is a portrait ofthe city of Kelowna. The city's name Kelowna or kiʔlawnaʔ is the nsyilxcn name for a grizzlybear. The grizzly bear holds cultural, traditional, historical and philosophical significance in theregion. It is an indicator of Okanagan's overall health and its ecosystem. However, because ofurban development and an increase in human activity, the natural environment and the48population of grizzly bears and other wildlife in Okanagan face threat. The painting initiates adialogue between destruction and ongoing life, featuring the grizzly bear surrounded by fireagainst a bright orange background. Like Wilson’s composition, the circular compositionsignifies a cyclic, continuous, and infinite existence. The application of 24-k gold leaf on firesymbolizes respect and reverence for the bear’s life.Reflecting on the thesis question, the intention behind creating these works is to stimulatecontemplation on interconnection and draw attention to the global repercussions of humanactions and disconnection with nature. These artworks explore the dual nature of humans, whopossess the capacity for creativity and destruction. They also initiate dialogues betweencontrasting concepts of life and death, beauty and fragility, and permanence and impermanence.Fig 31: Interference, 7.5 x 11.5 inches, tea stain, natural pigment and gouache on paper,49Fig 32: equilibrium crumbles, 14 x 11 inches, tea stain and natural pigment on paper, 2023Fig 33: equilibrium crumbles, det50During the MFA program, I travelled to Jasper National Park in Alberta. While travellingthrough the majestic natural beauty of Jasper, I find myself immersed in deep contemplation ofthe mysterious vastness of thriving and vibrant nature and life. However, this serene journey takesan unexpected turn when the dense forest, blooming with life, unexpectedly ends and transformsinto a desolate, lifeless landscape. The colourful forest fades, leaving charred and splintered trees,stumps and scorched earth- haunting aftermath of the fire’s devastation. These contrastingexperiences in Jasper prompt a deeper reflection on notions of beauty and fragility, betweenhuman-made and the natural, and the transient nature of existence across all living forms. Uponreturning home, I create works that capture this profound experience. The initial pieces,equilibrium crumbles (Fig 32.) and Interference (Fig 34.), are born out of creative explorationwith tea as a medium- a fluid and organic material. The colour of the tea serves as a reminiscentconnection to the barren landscape encountered in Jasper and prompts the creation ofmonochromatic works to portray the loss of green. In contrast to previous works that utilized teafor uniform paper staining, these pieces embrace spontaneity, allowing the tea to flow freely andcreate textures through pools and drips. The images from the tea are surprising, prompting me tointegrate these spontaneous gestures with meticulous drawings. Layer by layer, the thecombination of controlled and spontaneous gestures invigorates the creative process and echoesthe cyclic nature of life.51Fig 34: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023Fig 35: earth becomes depleted, 47 x 23 inches, tea stain, natural pigment and gouache on paper, 202352Fig 36: endlessly repeating itself, 102 x 11 inches, tea stain, natural pigment, gouache on paper , 2023Fig 37: endlessly repeating itself, detail.This approach continues in the subsequent three paintings. The diptych format expandsinto a triptych in earth becomes depleted (Fig 36.), mirroring the three screens of the animation.Encountering the challenges of working on a large scale in earth becomes depleted, prompts meto delve into Ji’s work and embrace the scroll format as a solution. Horizontally scaling up thesize allows both increase in size and the incorporation of dynamic movement while maintaininga sense of precision and control where needed. This creative research journey reveals the53importance of continuous effort and a creative mindset in achieving balance and harmony,whether it is through observation, reflection or transformation. This realization finds expressionin the scroll endlessly repeating itself (Fig 37.), which inspires new ideas and leads to theconception of the final piece, all creatures flourish together (Fig 38.).Fig 38: all creatures flourish together, 31 x 3, tea stain, natural pigment and gouache on paper, 2023Fig 39: all creatures flourish together, detail54Fig 40: all creatures flourish together, detailIn the creation of the final piece, I return to a smaller scale while still maintaining thehorizontal composition. Handmade paper is submerged in freshly brewed tea, allowing it toabsorb the rich hue. As the paper dries, its edges curl inwards, making it look fragile anddisintegrated. Splashes of blue paint are added, along with details of land, water, and salmon.The incorporation of vibrant blue amidst the subdued tea colour signifies regeneration andtransformation, reminiscent of Rumi’s teachings. By including images of salmon, the artworkreflects transcendental qualities and celebrates the achievements of the Syilx Okanagan people intheir efforts to restore the salmon population in Okanagan Lake. The hope for this artwork is thatit evokes the same sense of hope and new beginnings as the animation.Upon deep reflection, considering the emotions of hope, achievements, andRumi’s profound teachings of transcendence and transformation, the exhibition’s title emerges:I Died As A mineral55The title is derived from Rumi’s verses discussed in the second chapter of the thesis, specificallydrawing from the line, I died as a mineral and became a plant. The verse expresses the idea ofspiritual transformation and the notion of shedding one’s formal self to be reborn or transformedinto something greater. The reference to dying as a mineral refers to the idea that inanimateobjects such as rocks, minerals, and other non-living entities have a certain level ofconsciousness that can be tapped into through a spiritual connection. The title evokes curiosity asit talks about death, and yet minerals don’t die. It symbolizes the cyclic, infinite and contentiousexistence between life and deathMoreover, it resonates with all aspects of my research, encompassing methodology,creation, and transformation. Rumi’s idea of transformation urges us to release our current selvesand embrace the possibility of becoming something greater. Similarly, in addressing thedisconnect with the natural environment, we must be willing to let go of our current ways ofthinking and living and embrace the possibility of a more harmonious and sustainable future.56Chapter 4: ConclusionThis written thesis begins with an introduction to my journey from the East to the West,providing the reader with the necessary context to understand the significance of this creativeresearch. Relocating to a new country plays a vital role in shaping the research question. Howcan visual arts, through the lens of interconnection, enable us to create meaningful connectionswith the environment to achieve environmental and human well-being in times of anthropogenicclimate change? This question is explored throughout different stages of the creative research.The initial response to this question is presented in the second chapter through the exploration ofcross-cultural engagement with the natural environment and the concept of interconnection andinterdependence. Kramapa’s container analogy reveals the meaning of interdependence. Thisunderstanding of interdependence extends by recognizing the spiritual connection with thenatural environment as an essence of interconnection through Tzu's verses and the duality of yinand yang. Rumi's poetry unravels profound insights into spirituality and our inherent connectionof humans with nature. To contextualize these concepts within the Syilx Okanagan perspective,the perspectives of the creative practitioners Armstrong and Wilson are explored, uncovering thefundamental role of interconnection and interdependence in the Sylix Okanagan worldview.Lastly, Ji and Qureshi’s works are examined, which invite us to reconnect with nature.The third chapter provides detailed insights into the methodology and techniquesemployed throughout the creative process, addressing the research question. The use of qalam,rung, seepi, vasli and new materials that are discovered on this journey evoke a sense ofcontemplation and intimacy of the close symbiotic relationships between all living forms. Thelong hours spent engaging in the creative process, crafting art materials, and creating paintings by57layering and rendering with a fine paintbrush connect ideas with material, matter and time,echoing a sense of purpose that intertwines between the cycles of life and death. Thetransformative nature of tea stains, with its evolving texture, evokes notions of regeneration andthe inherent spirit of nature. These processes culminate in developing a series of worksembodying the research findings, inviting the audience to explore, connect, reflect andexperience an intimate connection with the artwork and the interconnected world.Fig 41: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023Towards the end of the MFA program, the series of artworks created through this journeyof creative research is exhibited at the Lake Country Art Gallery, where the challenge oftransforming the four white walls of the gallery into an intimate space for contemplation andreconnection arises. Similar to how the concept of transformation is significant to the artworkand theme, the idea also becomes integral to the exhibition space. To solve the challenge, I58divide the large room into separate spaces by adding a temporary wall. Creating differentsections within the space allows the work to be grouped according to thematic connections,narrative, colour and medium. Each section of the exhibition explores a different facet of thebody of work and allows the work to be viewed with intrigue and curiosity. In addition to thetraditional method of hanging of paintings on the walls, the use of other display methods such asfloating art, book stand, plinths and wooden panels, enhance engagement and fascination withinthe exhibition space. Soft and warm lighting illuminates the paintings, highlighting theintricacies of the artwork. It also creates an inviting space, encouraging viewers to approach theartwork closely and spend time engaging with each piece. The exhibition space provides anopportunity for contemplation and reflection upon opposing concepts prevalent in my work, suchas beauty and fragility, permanence and impermanence, water, and fire. To emphasize theseopposing ideas, I paint two walls in contrasting colours associated with water and fire: blue andorange. Paintings with the theme of water are displayed on the blue wall, while the orange walldisplays paintings with the theme of fire. This arrangement creates a visual dialogue andjuxtaposition between the artworks. Despite their contrasting qualities, water and fire exist inharmony and balance within nature. This juxtaposition reflects the concept of yin and yangdiscussed earlier in the thesis. Fire is the active yang that embodies movement and change, whilewater is the passive yin that represents stillness and equilibrium (Levitt). Together yin and yangflow endlessly in a cycle of interconnection and transformation. By showcasing the interplay ofopposing yet complimentary forces and colours, the intention is to remind the viewers of theimportance of both action and reflection in strengthening our damaged connection with theenvironment. It serves as a reminder to embrace transformation towards a more harmonious andsustainable future for the next generations.5942: Gallery view, I Died As A Mineral, Lake Country Art Gallery, 2023Reflections on the first chapter, which speaks about the future generations and theSeventh Generation Principal, foster a realization that the essence of our existence lies inensuring a thriving future for generations to come. It is human responsibility to heal the ailingenvironment and act in the best interest of the future generation. Following the opening of theexhibition, I receive an email from the gallery containing comments from middle school studentswho visited the exhibition on a school tour:My favourite art exhibit room was for "I died as a mineral". It shows animalsbeing killed. people dying and drowning, forest fires, trees being cut down,society crumbling and much more incredible but scary things happening. I think itwas honestly telling the (blunt) truth about what is happening in our world.60I really liked how some of the paintings were made out of tea, so it showed howthe world is turning into a place without colour, and the trees are dying frompollution and forest fires.Heraa khan made a miniature painting of a native women and an English orEuropean man, I do not know If they were looking at each other in awe or wererivalry over the land that was being stolen. Behind the women were things fromher culture I believe and then behind him things from him. I think Heraa Khan istalking about the effect that was taken on the land when it was stripped away fromthe First People.I really liked that their art is full of detail, and it's really inspiring and creative. Ireally love how it's about the earth and how it has changed over the years andhow the earth was beautiful but us humans just destroyed it and we need to fixthat.Students' humbling and emotive responses serve as a testament to the significance of the SeventhGeneration Principle and provide a powerful answer to the research question. How visual arts,viewed through the lens of interconnection, can foster meaningful connections with theenvironment and promote human well-being during anthropogenic climate change is answeredthrough the affective thoughts shared by the students. Their reflections indicate that I Died As AMineral, successfully engaged them, prompting them to pay attention to details, comprehend themessage, and establish meaningful connections with the environment. The different perspectivesexpressed by the students show that they were able to foster a sense of empathy for theenvironment, comprehend the complexities of the climate crises and contribute to the ongoingclimate change dialogue. As an artist, knowing that my work has impacted young minds is atremendous reward. It reinforces the power of art to spark curiosity, open minds totransformation and new possibilities, and inspire a sense of wonder, gratitude, and appreciation61for the intricate relationship between humans and the natural world. More importantly, it plays asignificant role in shaping culture, worldview, and values, instilling a shared responsibility forthe stewardship of our planet - an ethos deeply ingrained in the teachings of the Syilx people.The fusion of my Eastern influences with discoveries I made in Okanagan, not only bringsattention to the urgency of addressing climate change but also reflect a profound depth of careand reverence for the environment. During the research I discovered that we can find hope indifficult and unpredictable times by stopping, listening, taking a step back, observing, taking apause and by allowing for silence. I discovered that transformation and growth can emerge frommoments of uncertainty. I found inspiration and hope by celebrating successes and positivechanges that have been achieved across cultures, like the return of the Salmon in the Okanagan. Idiscovered that our actions have an impact and that by fostering meaningful connections betweenhumans and the environment we can contribute towards a better future for generations to come.62BibliographyArmstrong, Jeannette. “An Okanagan Worldview Of Society.” Open Book Publishers, OpenBook Publishers, May 2020, pp. 163–70. https://doi.org/10.11647/obp.0186.14.Armstrong, Jeanette. “Constructing Indigeneity: Syilx Okanagan Oraliture and tmixʷcentrism.”Diss. 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Thesis/Dissertation
eng
Visual Arts
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
Dulic, Aleksandra
I died as a mineral
Text