Robert Houle

Major retrospective highlights artistic practice as resistance and transformation.

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In 1990, a series of blockades were constructed to prevent and protest the expansion of a golf course in Oka, Que., that would cover the burial grounds of the Kanien’kehà:ka (Mohawk) of Kanehsatà:ke, an area also known as “the Pines.” Throughout the ensuing crisis, echoing cries came from peaceful protests that disrupted the daily travel of Canadians and demonstrated solidarity between Indigenous peoples across the country. This battle made evident the severe mistreatment of Indigenous peoples, the lack of respect for our sovereignty, and the lingering effects of colonialism, which we still see prevalent today. It was a dark time.

While art has an immense power to transform – whether by shifting the way we move through space, by prompting us to consider what we may never have thought of otherwise, or by offering new possibilities for the future – there are few artists whose influence can be directly seen in their transformation of society into a place that is kinder, softer, more understanding and wiser. 

One such is Saulteaux Anishinaabe artist Robert Houle, born in 1947 in the Sandy Bay First Nation on the west shore of Lake Winnipeg. As he has said, he has been “making waves” all his life. And, around the time of Oka, he was producing some of his most significant works. 

While the retrospective exhibition Red is Beautiful, on view at the Art Gallery of Ontario until April 18, moves visitors through many stages of the prolific artist’s career, it opens with a deeply critical work that speaks to solidarity with Kanehsatà:ke from the time of the Oka Crisis. Kanehsatake, 1990-1993, is a multimedia piece with a looming presence. Two panels placed atop a four-inch by four-inch block of wood embellished with a small red-and-yellow strip of colour lean against the wall. The right panel is a dark navy blue that lures viewers into its many luscious layers of pigment, while the left panel is a cold steel with the word “KANEHSATAKE” etched into it. 

Neighbouring this work is the substantial work Kanata, 1992, which has received incredible attention throughout Houle’s career. And, in the corner across from these works, are the four pieces of Muhnedobe uhyahyuk [Where the gods are present] (Matthew, Philip, Bartholomew, Thomas), 1989, and Kanehsatake X, 2000.

Throughout the exhibition, the colours reflect gently on the concrete floor. But in this room, the effect was the most powerful. It felt like looking out on a still body of water that mirrors its far shore or the clouds, extending the forest and sky into relation with the water. You can watch fellow visitors walking amongst the reflected brush strokes, moving through the repetitions, syncopations and expanses of colour.

During my career, I’ve heard many say Houle’s work is painfully beautiful. I knew this to be true after witnessing his work in person a few times while I lived in Montreal but was unprepared for the immensity of experiencing this retrospective in Toronto. Winding its way through huge exhibition rooms, Houle’s work is connected by his attention to detail, and through his specific and intentional artistic decisions. 

While some works have an air of spontaneity, it was interesting to understand how each work has carefully calculated processes and intentions for viewer engagement – small details to notice over time. You can understand how Houle’s thorough attention to detail comes from a lifetime’s investment in art historical studies, curatorial practices, art criticism and writing, in addition to his substantial career as an artist. In this retrospective, one can see how his work has adapted, shifted and responded over the years.

Effectively mirroring the artist’s approach is the masterful response by Anishinaabe curator Wanda Nanibush, whose curatorial practice always so effectively transforms spaces, allowing me to sense her relationality with the artists she works with. As the gallery’s curator of Indigenous art, her attention to the flow of movement, materials and spatial design is impossible to ignore. It is an impressive display of curatorial excellence that brings space seamlessly together with the textures, feelings and emotions of the works. Walking through the exhibition, you can feel a tenderness between Houle and Nanibush, as well as the precision and intentionality in both their practices.

The spacing changes towards the end of the exhibition. In the first main galleries, the pieces have room to breathe. The empty wall space gives moments of pause until the next work, which I found myself needing as I absorbed the impact of each piece. The rooms at the end are also beautiful, but I found myself wanting a bit more space, and perhaps more attention on the titular work, Red is Beautiful, 1970, which feels slightly wedged into a corridor with other works from that time.

As digital components are becoming the new norm for curatorial practice, visitors can engage with the exhibition on the gallery’s website, which houses the accessible audio guide for some significant works, an overview of the exhibition and recorded talks and panel discussions. These include a keynote address as part of the 2021 edition of aabaakwad (it clears before the storm), an annual gathering for international Indigenous-led conversations on art, where Houle spoke about his life, practices, struggles and triumphs, ending with a story that left the audience roaring with laughter. 

Sometimes, whether we like to admit it or not, the very presence of Indigenous peoples is an act of resistance and an ongoing reminder of the failure of colonial systems built against us. Art is a powerful tool for fighting against these systems, which have prevented our communities from being seen and respected as they are. Houle has made a lasting imprint on art history and this exhibition will sit with me for many years to come.

Remembering that within me, too, red is beautiful.■

Robert Houle: Red is Beautiful at the Art Gallery of Ontario in Toronto from Dec. 3, 2021, to April 18, 2022.

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