6.5mm x 11.5 mm cylinder carved from canupa iŋyan/ pipestone/ catlinite
photo by Sam Genia
Canupa Iŋyan: Falling Star Woman is a piece made from canupa inyan/ pipestone/ catlinite stone. I created this piece for the "Earthlings: Open Call for Artworks in Low Earth Orbit" project of the MIT Media Lab Space Exploration Initiative. The piece will be included, as one of nine art works, in a unit called Sojourner 2020 that will orbit the earth on the International Space Station this year. Sojourner 2020 will be launched on March 6, 2020, from the Kennedy Space Center at Cape Canaveral, Florida on the Space X Falcon 9 CRS-20.
For info about the launch, and to watch it live, click here.
For info about the launch, and to watch it live, click here.
Carved from the traditional Dakota material of canupa iŋyan/ pipestone, Canupa Iŋyan: Falling Star Woman depicts the legend of a star gazing young woman who travels to space, marries a star person and gives birth to a star child. Over time, she misses her family, friends, and her work as a plant medicine healer. She decides to leave her home in the stars and return to her people on earth. Using the thread of her woven dress as a rope, she climbs down from the stars. However, the thread is not long enough. She lets go and tumbles down to earth as a wakaŋwohpa/ falling star.
|Canupa Iŋyan: Falling Star Woman, front|
There are varying versions of this story within oral tradition, each possessing different elements and outcomes for Falling Star Woman. In this piece, I chose the elements that are most prominent in my recollection, in order to recreate her voyage into space, and her path falling back down to earth's gravity field.
|Canupa Iŋyan: Falling Star Woman, rear|
The carving shows the moment she is transformed into a falling star and becomes Wicahnpi Hinhpayawin/ Falling Star Woman. Her face appears on one side of the cylinder and her hair flows into the shape of an eight-pointed star on the other end. On her body, I carved a Dakota floral pattern to show the strong pull she felt to resume her duties to her people as a plant medicine healer, and the relevance of the stars to planting seasons.
|detail of Dakota floral pattern on shaft|
This piece is a extension of my ongoing project: "Canupa Iŋyan: carvings of my ancestors," in which I work with pipestone and study its history and cultural forms. This stone comes from the quarry located on Dakota homelands where people of many tribes historically came together to dig stone for their pipes. Today, due to colonization, the quarry is under the jurisdiction of the United States, and it is known as Pipestone National Monument, in Minnesota.
|pipestone carving of Wicahnpi Hinhpayawin, through a lens|
This project has led me to museum collections around the US, where I have viewed, studied, documented, and spent time with ancestral Dakota canupa iŋyan pieces. According to Dakota philosophy, the historical pieces residing in museums are considered to be ancestors themselves, possessing a life of their own. Likewise, this stone is a vibrant form of life with much cultural significance.
|Falling Star Woman in the Mesosphere, acrylic on canvas, 42"x 30"|
|Piece with hand for scale|
The piece was made to fit into the Sojourner 2020 capsule, it measures 6.5 mm x 11.5 mm, and weighs only 0.86g. It is the smallest piece I have ever done, smaller than my fingernail, about the size of a pill. Sojourner 2020 is a unit built to hold art work investigations in a small space, it consists of three layers, the first that remains still in weightlessness, the second and third that rotate at the speed of the moon and Mars, respectively. Falling Star Woman is on the first layer and will experience zero gravity for the duration of her time on the ISS.
|Sojourner 2020, photo courtesy Xin Liu|
Canupa Iŋyan: Falling Star Woman is one of nine projects by international artists included on the International Space Station payload. Featured artists are:
Luis Guzman, “bioarchitectures,” Chile
Xin Liu, Lucia Monge, “Unearthing the Futures,” China & Peru
Levi Cai & Andrea Ling, “Abiogenetic Triptych,” USA, Canada
Kathleen Kohl, “Memory Chain: A Pas de Deux of Artifacts,” USA
Henry Tan, “Pearl of Lunar,” Thai
Janet Biggs, “Finding Equilibrium,” USA
Masahito Ono, “Nothing, Something, Everything,” Japan
Adriana Knouf, “TX-1,” USA
Erin Genia, “Canupa Inyan: Falling Star Woman,” American, Sisseton Wahpeton Oyate
More information about Sojourner 2020 is on the MIT Media Lab website, and information about the entire MIT payload is located here.
|detail of Falling Star Woman painting|
Colonial Legacy: Uncontrolled Burn
pastel on paper
9" x 12"
The work depicts a wild forest fire from above. The increasing number and severity of forest fires stems from the colonial legacy of destroying earth-based ways of knowing that are carried by Indigenous peoples. One of these ways of knowing is a centuries-old practice of stewarding landscapes through a variety of methods that include controlled burns to manage forests. The loss of Indigenous peoples practicing these methods over widespread areas, accompanied by a prevalent view that the natural world is a set of natural resources meant for human and industrial consumption alone inevitably leads to uncontrolled wild fires and eventually, ecosystemic collapse.
My first solo exhibition, Okoŋwaŋžidaŋ is at the Urbano Project. The exhibition opening was on October 24th. My latest work on view, include paintings, sculptures, textiles, a video projection of Earthling and an installation of sound vessels. This solo show is one aspect of my artist residency at Urbano, working with youth artists.
For more information about the show and the residency, check out this news coverage from my alma mater MIT Art Culture and Technology program, Broadway World, Art Fix Daily and Jamaica Plains News.
The show was also reviewed by Boston Globe arts journalist Cait McQuaid, in the article "At Urbano Project, artist Erin Genia ties together 'everything in the universe.'"
|Anpa O Wicahnpi: Dakota Pride Banner|
Seattle Center, 2017 by Erin Genia
The article references "Monuments in Perspective," the workshop I gave this past spring for "Experiments in Pedagogy," a series of curricular events marking the 150th anniversary of the MIT School of Architecture and Planning. The workshop consisted of regional site visits to places of cultural and historic significance to the Wampanoag, Nipmuc, Massachusett and Ponkapoag people. Through the wisdom and words of Jonathan James-Perry (Aquinnah Wampanoag) and Jean-Luc Pierite (Tunica-Biloxi), students and community members learned about the history and character of the land, as well as critical approaches for respecting it in their work as artists, designers, urban planners and architects.
The article also discusses the work of two artists working in the public sphere whom I admire a great deal, Lillian Pitt (Warm Springs/ Wasco) and Toma Villa (Yakama). The Confluence Project, a series of public art sites and interventions along the Columbia river, led by Maya Lin, features their compelling art pieces and promotes the work and voices of Indigenous people of the area.
My work, Anpa O Wicahnpi/ Morningstar - Dakota Pride Banner, which celebrated diversity and the urban Indian experience at Seattle Center from 2017-2018, also makes an appearance in the article. I am proud to be one of six writers that the public arts organization Now +There supported for this publication.
This year, I have fulfilled the requirements of my Masters degree program in Art, Culture and Technology, at the MIT School of Architecture and Planning. One of the requirements was to produce a thesis. Here is my thesis abstract:
The powers of creativity and symbolism that art draws upon have been used in the public realm to uplift and also to oppress. Within this context, art, from Indigenous perspectives, can positively influence the collective imaginations and wokiksuye (memory) of society. Indigenous intervention into the practice of public art can powerfully contribute to the process of decolonization and Indigenization in America. Considerations embedded in notions of public space within a settler colonial society, such as the attempted erasure of Indigenous peoples and histories, and the supplanting of Western doctrines over Indigenous cultures, influence the production and reception of this work. Erin Genia, a Dakota artist, analyzes the politics of memory in public space by scrutinizing monuments celebrating the American colonial project and describes the impacts of Western imperialism on Indigenous arts and cultures. By presenting her own artwork, as well as that of prominent Indigenous artists working in the public sphere, she shows how understandings of place and relationship underpin Dakota/Indigenous methods, and argues that public art is an arena where an evolution of thought and practice in approaches to the world can come to fruition.
I created the image above for the 2019 SA+P Thesis show. You can see information about this thesis, and other students theses here.
You can read more about my graduate work, including my thesis, here.
- Vine Deloria, Jr. God is Red, 1973
|Earthling performance at MIT building 7, Art, Culture and Technology Program, photo by Chelsea Polk, June 2019|
|Earthling with thundertube, 2019|
Earthling is a reminder, that underneath people's closely held ideas, underneath the systems that capitalize upon us and colonize us, our adopted ideologies, we are earth-based beings.
We are not just of the earth – we are the earth.
acrylic and architectural model vegetation on canvas
Human understanding has come far away from the reality that we are not separate from the earth. How would our responsibilities to ourselves, each other and our world change if this reality was the basis of our collective thought and action?
|Earthling in Joy Parade through Boston, by artist Nick Cave, photo courtesy Now + There, 2019|
|Earthling drawing waves, at Futurity Island: Amphibian Pedagogies and Submberged Perspectives, MIT Walker Memorial, photo by Juan Necochea, 2019|
|Earthling drawing waves using pipestone pigment, at Futurity Island sound sculpture photo by Juan Necochea, 2019|
Earthling asks us to consider these questions. Earthling has been performed at "Futurity Island: Amphibian Pedagogies and Submberged Perspectives" at MIT, organized by Nomeda & Gediminas Urbonas in collaboration with Indrė Umbrasaitė, Nicole L’Huillier and Tobias Putrih. Earthling appeared in artist Nick Cave's "Augment: Joy Parade" organized by Now + There and Ds4si in Boston.
|Embodying transformation with the earthling mask and a water soundscape, March 2019|
|Sage Burner Sound Vessel, glazed|
Coalescing the materiality of sound with the life force of earthen formsSound Vessels is a series of ceramic sculptures that transmit sounds. Using sound as a material, this work explores how it can interact with objects, through the medium of earth, by experimenting with the interactions between various types of sounds and forms.
|As installed at the February School, a month-long series of pedagogical experiments self-organized by ACT students at MIT, in the Wiesner Student Gallery|
|Crystalline Sound Vessel|
|Sound Vessels, performed in December, 2018|
The pieces come alive in a new way as they conduct sound vibrations. They begin to shake and move and speak.
|Sound testing two types of ceramic vessels|
|Cicada Chirper Sound Vessel|
|Interacting with the array of Sound Vessels in the ACT Cube at MIT, December 2018|