Grandfather!s Self-Portrait; Self-Portrait as a Hunter My Grandfather stands, poised with his rie; a red jacket set against a sea of green Canadian pines. Shortly after immigrating to Canada from Switzerland with my mother and Grandmother, my Grandfather took this self-portrait at age 28, the same age as myself. Rummaging through my clothes one day, I pulled out a sweater I had bought some years ago at a thrift store. It is grey with images of animals and text like you often nd on those old-men trucker hats of the I"d rather be... variety. It reads I"d rather be HUNTING with a large deer, a duck, and an image of a hunter ready to re. I had thought it was ironic - at the time I was vegetarian, and it also pointed at how strangely removed I felt from the hunting tendencies of my Grandfather while I was a child. I had removed in my mind the act of hunting from the artifacts of animals that were strewn around my grandparents home - the bearskin rug and the numerous antlers mounted to the walls. I shot a self-portrait, wearing the sweater, in my studio with a white fuzzy carpet. The image is decidedly not comforting - it is cold and looks like the outdoors despite the white studio walls behind me. I am contemplating the expanse of white-on-white, of the Great Canadian North, at age 28.
Books
Bookcase with Tundra and CN Rail In my Grandmother"s house, the basement is full of collections. It is where the artifacts of my Grandfather primarily reside. I found three books stashed in the bookcase next to Mountain Man and The Ice: Ordeal by Ice, Polar Passion, and Tundra, a trilogy by Canadian author Farley Mowat. They are collections of historical documents from ship wrecks, explorers, polar expeditions, and Canada"s rst immigrants and colonizers. These accounts were the start of the current (Western) mythology of Canada. The letters from northern explorers sent home to Europe with descriptions of the tundra, the expanse of the north, and the animals that lived there, were the beginnings of icons that still symbolize Canada today. The futile efforts of multiple expeditions to nd the North West Passage through the ice drew a large amount of interest throughout Europe and formed a collective imaginary of what Canada, as a landscape and territory, stood for. Ordeal by Ice: The Hunter The re-enactment of my Grandfather"s hunting memory took place on a farm south-west of Calgary, Alberta. As we arrived, the only light was the blue glow of dawn 1 on the horizon over the black prairie and the glow of our truck headlights streaming 1 For in all hunting mythologies the sun is a great hunter. At dawn his arrows slay the stars. Campbell, Joseph. Renewal Myths and Rites of the Primitive Hunters and Planters. Spring Publications Inc., 1989. p.16 across the cattle grate on the snowy farm road. My Grandfather"s friend had invited me to go deer hunting with him - this was my rst time hunting, and my rst experience of the woods as a landscape of trails and dens. Walking through the wilderness alone in the snow, the woods became a maze-like enclosure that entangled me with bramble branches only to lead to a deer trail that disappeared in a clearing. At the base of trees were little hollows melted out of the snow - traces of sleeping deer, nestled together. I was re-imagining my Grandfather"s memory through my own actual experience. The mythic qualities my Grandfather held in my memory - as hunter, provider, explorer - were echoed within my own experience of the wilderness.
Prairie Lights at Dawn The myth of the hunter that my Grandfather had become was held up by the history of human animal relationships within the identity of Canada. Beaver trappers who worked for the fur trade industry explored Canada by river, expanding and mapping the territory of known land. The animals that the hunters and explorers encountered became a part of the identity of the land, a vast northern territory where the rivers were lled with sh, the northern tundra with endless herds of caribou, and the mountains with deer and bears. The hunters of Canadian history became myths and legends in their immersion into the wildness of the north. Throughout Western history the hunter has been seen as a liminal and ambiguous gure, now a ghter against wilderness and now a half- animal participant in it, who stands with one foot on either side of the boundary and swears no perpetual allegiance to either side. 2 Within an art historical context, the hunter myth was re-imagined in Roeland Savery"s The Bohemian Husbandman from 1616.
In the rst decade of the seventeenth century he painted the denitive image of 2 Kalof, Linda and Amy Fitzgerald, Ed. The Animals Reader. Oxford International Publishers Ltd, 2007. p. 239. the Bohemian forester, clad, shod, and hatted in fustian and hides, the ancient, hirsute wild man evolved into a wholly sympathetic Waldmann - the man of the woods. 3 The hunters duality between wild and domestic helped form the symbolic relations between humans and animals as they appear in myth and the collective imagination. The human characteristics that both hunter and animal possess in mythology form parallel connections between the natural world and ourselves, and as these animals are born from the landscape, their characteristics further inform our ideas of the wilderness.
Polar Passion: Animal as Artifact
Bearskin The anthropological and scientic study of animals classies their characteristics and our own relationship to them.
The dualisms of the hunter residing on the border between animal and human allow for a wider understanding of the role of animals in the imagination and mythological landscape. Society and the state need animal characteristics to use for classifying people; natural history and science need characteristics in order to classify the animals themselves. Serialism and structuralism either graduate characteristics according to their resemblances, or order them according to their differences. Animal characteristics can be mythic or scientic. But we are not interested in characteristics; what interests us are modes of expansion, propagation, occupation, contagion, peopling. I am legion. The Wolf-Man fascinated by 3 Schama, Simon. Landscape and Memory. 1st ed. Alfred A. Knopf, Inc., 1995. p.100. several wolves watching him. 4 The traits shared between animal and hunter, and the concept of an idealized wilderness propagated by myth, creates a fascination of the animal as artifact and brings the animal into the territory of the home. On the oor of my Grandmother"s home is a bearskin rug that I used to sit on as a child at the foot of my grandparents bed. Now it is in the basement, surrounded by mounted antlers hanging on the walls. These animals within the home reference hunting as a cultural activity and become icons for the natural national landscape. Animals as artifacts signify my identity within the history of the hunter-gatherer and the idealized Canadian landscape. The animals become symbols of my Grandfather, traces of his movements as a hunter. Their transformation from living to artifact reinforces the myth of my Grandfather, as outdoorsman, hunter, explorer, as well as the myth of the Canadian wilderness (etymologically wild-deer-ness 5 ).
The cave bear skulls found in early Neanderthal caves in St. Gallen, Switzerland, were placed in specic positions associated with ritual. 6 The ways in which they were placed signied which form of ritual they had been involved in - some were found with leg bones placed beneath the skull, some with a ring of stones around them, and others were placed in reference to a human burial - as a symbol for a god. Just as in our early relationship with animals, especially as seen in bear cults, contemporary society still makes use of animals as symbols in myth, ritual, and shamanism. They stand in for cultural references, geographic spaces, symbols of nationalism, and our connection to the natural world. Tundra: Imaginary Landscapes The parallels between my Grandfathers and my own experiences are bridged by the myth, memory and identity constructs that are shaped by the land we inhabit. The mythological landscape of Canada that informed his decision to immigrate still informs my own concepts and experiences of the Canadian wild. A myth always refers to events alleged to have taken place long ago. But what gives the myth an operational value is that the specic pattern described is timeless; it explains the present and the past as well as the future 7 A line of blood in the snow from a hunted deer dragged 4 Deleuze, Gilles, and Flix Guattari. A Thousand Plateaus, Capitalism and Schizophrenia. 11th ed. University of Minnesota Pr, 1987. p. 239. 5 From the eleventh to the fourteenth century, words that had meant animal or wild beast in several European languages narrowed semantically to mean deer or doe in particular - English deer, French biche, German Wild, and so on - and words for deer and hunting became conated, so that deer became both ideal animals and the ideal objects of the hunt. Kalof, Linda and Amy Fitzgerald, Ed. The Animals Reader. Oxford International Publishers Ltd, 2007. p. 240. 6 Campbell, Joseph. Renewal Myths and Rites of the Primitive Hunters and Planters. Spring Publications Inc., 1989. 7 Levi-Strauss, Claude. Structural Anthropology. trans. by Claire Jacobson and Brooke Schoepf. Anchor Books, 1967. p. 205. through the woods begins from mythological origins, was repeated by my Grandfather, and is shown, once again, as tracings of the re-imagining of my Grandfather"s memory. This bloodline is symbolic of both my familial history with my Grandfather, as well as the history of myth within the landscape. Bloodline It is vain to dream of a wildness distant from ourselves. There is none such. It is the bog in our brain and bowels, the primitive vigor of Nature in us, that inspires that dream. 8
8 Schama, Simon. Landscape and Memory. 1st ed. Alfred A. Knopf, Inc., 1995. p.578.