“Being able to come to work and see beautiful, but also deeply political, art produced by Indigenous artists is an important signal about what people need to learn about First Nations, Metis, and Inuit as a whole,” says Brenda Macdougall, director of the Institute of Indigenous Research and Studies (IIRS).
A vision rooted in the Indigenous Action Plan
The inclusion of Indigenous artworks in the Rotunda is not a random act of decoration. It ties directly into the University of Ottawa’s Indigenous Action Plan (IAP), particularly Hoop 3.1, which emphasizes the importance of increasing the presence of Indigenous art across campus interiors. This effort is a powerful statement of the University’s intent to integrate Indigenous knowledge and political thought into its physical spaces to create an environment where these voices are heard, recognized and amplified.
During the Tabaret Hall renovations, discussions between Associate Director, Facilities Planning and Sustainability Nicola Russo and Director of the Office of Indigenous Affairs Tareyn Johnson sparked a collaboration with the Canada Council Art Bank. The team, which also included President Frémont and Brenda Macdougall from IIRS, selected artworks that would resonate deeply with the mission of truth-telling, reconciliation, and honouring Indigenous artistry.
A selection process focused on representation
The chosen artworks reflect a thoughtful process that prioritized Algonquin artists, honoring the land on which the University stands. However, the selection didn’t stop there. An Inuit painting, centred on intergenerational knowledge, and a new acquisition by Anishinaabe artist Frank Shebageget, whose work critiques colonialism, were also included. The diversity in the artists and their stories showcases the University’s broad commitment to reflecting various Indigenous cultures.
For example, Shebageget’s Free Ride uses fifty $5 Canadian banknotes from 1972-2022 as a visual representation of what he would have received as a Treaty 3 signatory. Free Ride is a critique of the myth that First Nations “get a free ride” and contribute little to society. This deeply personal yet politically charged piece further highlights the discrepancies between what was promised to First Nations under the treaties and what was delivered.
Dominic Lafontaine’s Wanna Trade Belts? No.1 (2023) combines traditional Anishinaabeg symbols with digital media. Through this work, Lafontaine— a “Frenglish” artist of Franco-Ontarian, Quebecer, and Anishinaabe backgrounds who earned a BA from uOttawa in 2004—looks back to move forward, using tradition to explore new creative concepts.
Meanwhile, Jessica Winters’ Hair Braiding Booth (2022) captures a moment of community and cultural connection within Inuit life. Inspired by her experience at a National Indigenous People’s Day celebration in St. John’s, where she spontaneously helped braid hair at a booth, Winters portrays the simple yet intimate act of braiding. Through her use of acrylic on paper, she emphasizes the natural, everyday moments that reflect intergenerational knowledge and the unique ways Inuit culture is expressed.
A tool for indigenization and truth-telling
These works represent more than just visual art: they stand as symbols of resilience, cultural pride and the ongoing journey toward Indigenized decolonization. As the University continues its indigenization efforts, the artwork in Tabaret Hall serves as a powerful reminder of the stories that need to be told and the voices that deserve to be heard.
The hope is that students, staff and visitors alike will reflect on these works and be inspired to commit to learning more about Indigenous peoples and their histories.
A long-term goal
The long-term vision is to further enrich the campus with more Indigenous art, expanding both the mediums and locations of these installations. Whether this includes future pieces from Algonquin, Haudenosaunee, Inuit or Indigenous artists from other traditions, the goal remains the same: to keep Indigenous cultural presence and truth-telling at the forefront of the University’s evolving identity.
Indigenous artworks installed in Tabaret Hall Rotunda:
- Dominic Lafontaine, Wanna Trade Belts? No.1, from the "Wanna Trade Belts? Series, 2023, digital print mounted on aluminum (Dibond), 121, 9 x 121,9 cm. Collection of the Canada Council Art Bank. Photo: Brandon Clarida Image Services.
- Nadia Myre, Coupling / Union Screwed, 2008, digital print, 169 x 86 cm. Collection of the Canada Council Art Bank.
- Frank Shebageget, Free Ride, 2022, vintage and recent Canadian five-dollar banknotes, engraved maple frame, 90 x 90,2 x 5 cm. Collection of the Canada Council Art Bank. Photo: Brandon Clarida Image Services.
- Jessica Winters, Hair Braiding Booth, 2022, acrylic on paper. 116,8 x 101,7 cm. Collection of the Canada Council Art Bank. Photo: Brandon Clarida Image Services.
The Canada Council Art Bank makes contemporary artwork available to a wide public across the country through its renting, loan and outreach programs. With more than 17,000 artworks, the Canada Council Art Bank has the largest collection of contemporary Canadian art anywhere, including a significant number of Indigenous artworks.
Indigenous Affirmation
We pay respect to the Algonquin people, who are the traditional guardians of this land. We acknowledge their longstanding relationship with this territory, which remains unceded.
We pay respect to all Indigenous people in this region, from all nations across Canada, who call Ottawa home.
We acknowledge the traditional knowledge keepers, both young and old. And we honour their courageous leaders: past, present, and future.