Portias, Jane Ash Painting On Canvas “Buffalo Meat To Holy Communion”

$6,200.00

The American Indian Church Religion saved me and God, or Jesus spoke to me and said the dum popes got it all wrong! They are not there to control! Well, the Catholic Church religion was forced on me and I felt guilty all the time — worried that I was a sinner. That religion ruined my childhood. Those nuns are means and the priests think they are over boys. When I discovered The American Indian Church well now is good.Jane Ash Portias

 

Dimensions: 24″ X 18″

Title: Buffalo meat to holy communion”

Medium: Mixed media on canvas in black frame

C. 2024

In Stock

Mikisew Cree First Nation
“Keeping the Circle Strong: From Caribou to Bison People”

Jane Ash Poitras—also known by her Cree name Tchilekwiyusse (Little Boy Child)—is an internationally acclaimed contemporary artist, writer, and lecturer of Mikisew Cree First Nation descent. A Member of the Order of Canada (CM) and the Royal Canadian Academy of Arts (RCA), Poitras lives and works in Edmonton, Alberta, and is celebrated for her powerful visual storytelling, multidisciplinary practice, and commitment to Indigenous cultural resurgence.

Poitras creates large-scale, layered mixed media works that fuse printmaking, painting, collage, and found objects. Her pieces often include hand-written text, ethnobotanical elements, and photographic references—bridging past and present through a complex interplay of imagery, history, and meaning. With themes grounded in climate change, reconciliation, cultural memory, land stewardship, and the role of women in Indigenous communities, her work opens space for dialogue across histories and identities.

Her artistic vision is informed by a rich educational background. Poitras holds degrees in Microbiology and Fine Artsfrom the University of Alberta, along with further studies at Yale University and an MFA from Columbia University in New York. Her knowledge spans multiple disciplines—pharmacology, literature, linguistics, and current politics—which are woven into her deeply symbolic, socially engaged art practice.

In her own words, Poitras says:

“I am exploring and creating art about reconciliation. Healing of nations coming together to make the world a better place… exploring how we are all more alike than different.”

Poitras’s early life in Fort Chipewyan and her later reconnection to her Cree heritage were formative influences in her development as an artist. Orphaned at a young age and raised by a German-Canadian adoptive mother, she spent her early life assimilated into mainstream Canadian society. It wasn’t until her 30s that she reembraced her Indigenous identity—a profound turning point that reshaped both her life and her work.

Her art has been exhibited internationally and is held in the permanent collections of major institutions. In addition to the Queen Elizabeth II Diamond Jubilee Medal, she holds honorary doctorates from both the University of Calgary and the University of Alberta, reflecting her lasting influence on generations of students, scholars, and fellow artists.

Faust Gallery is honored to present the work of Jane Ash Poitras, whose visionary art challenges, educates, and inspires—bridging nations, worldviews, and generations through a deeply personal and political lens.

This mixed media work by Jane Ash Poitras (Mikisew Cree) pays tribute to the Blackfoot Nation, evoking themes of cultural survival, memory, and identity. Titled “Buffalo Meat To Holy Communion,” the piece features layered imagery that blends photographs and Janes painting style.

At the center is a historic black-and-white portrait of leaders associated with Native North American nations: John Bear and Looking Glass. Below them, an image of Catholic Priests and young children labeled “Buffalo Dancers” and “Death March” adds commentary on the loss and resilience Jane faced by losing Native traditions. A ledger drawing of a warrior on horseback rides across graph paper, symbolizing continuity amid disruption.

Above it all, a painted bison and calf roam freely, representing both strength and cultural rebirth. The word “BLACKFOOT” is emblazoned across the top, partially obscured by red paint drips that echo blood, sacrifice, and endurance.

Poitras’ signature use of layered symbolism, historical photographs, and expressive abstraction invites viewers to confront the legacies of colonialism while honoring Indigenous resistance and revival.