triumphant stories of good medicine
Natalie King dibaajimowinak aw ikidowinag miinwaa ataatayinawin ikkide’awg agwajiinigewin, niwaad mii dash ezhi-kikendamowininiwin Anishinaabe izhi-ayaayaag bimaadiziwin aki nibiig aki shkoden. King wii-sa-niibidaabamiyan jiimaan aki miinwaa miikana ganawendamowin wiiji-nakiizidot ayaad maanda egii-miinawaa enagdiziyeg gwayak. Mino-ayaayang maanpii giigiweng jijakwaad ka-ayaa’igan maanpii, King wii-piichikeyaadig ininiwin ijinawenimaad ogichidaag aki Anishinaabe oniizaakweg ganawenimaag wii-zhichigewaadig egoon dash wii-miinawaa gwayak wiiji-ikidowin mii dash ezhi-kikendamowininiwin dash ezhi-ayaayaag. Kikendaanan gekek niizhtanaag ezhi-kikendamowininiwag mii, King dash enagdiziyeg gwayak gwayak, giizhigad, miinwaa miikana egwii-akinoomaadiziwin. King aki izhi-ayaayaag dibaajimowinak dash wii-miinawaa agindaasowin ijinawenimaad iwe-gashkitoowin.
Natalie King’s works on canvas move through time and space to depict the complexities of queer Anishinaabe urban life. King highlights the thriving inner and outer dimensions of this future with queer Indigenous bodies on Turtle Island to illustrate the relationship Indigenous people have had with acceptance and love of their culture(s), their knowledge(s) and their identity(ies). Each of these figurative paintings features diverse and complex queer Indigenous people(s) journeys, depicting their personal realities of community, care, and belonging. King’s artistic practice depicts lived experiences through frameworks of desire and survival.
