Growing up as an urban indigenous survivor of the sixties scoop, I struggled with, and continue to struggle with, identity. As a child and young man, I was constantly wondering, “Am I brown enough? Am I acting white enough?” It would be my art that would show me the answer, and reveal the identity I was later relieved to accept. Finally, I realized that my art held all the clues of a contemporary concept of urban indigenousness and the struggle for identity. My paintings have become the most effective and universal language of my ways of knowing, which may look different to what one may assume.
My name is Jasyn Lucas. I was born Jason Bighetty. I am a member of the Mathias Colomb Cree Nation. I am a sixties scoop survivor and have spent my lifetime dedicated to painting the daydreams and dreams that the universe has provided. My spirit name is ‘Northern Lights Turtle Man’, and ‘Standing Buffalo Man’. I have two spirit names and my art carries a message that I have always had, but has become more-clear, the older I get. As an Indigenous person who grew up separate from his culture and traditions, I have struggled with identity, however my creative process has always seemed to address five major principles of design that also support the teachings of the medicine wheels 4 directions, and the ways of knowing, and the balance of spiritual, mental, physical and emotional well-being. It’s always the landscapes and animals that I use to remind us of the delicate ecosystems we need to improve to serve.
My paintings are those elements and are my medicine. Because I live with them every-day, I aim for my paintings to be like a breath of fresh air, that I want to be stress-free and wonderful to view. I want them to be bright and absurd with colour and motion. Expressive, but disciplined and invested. I want them to be therapeutic and medicine for the viewer as well. To ultimately seduce the viewer into engaging visually within the painting itself and its visual elements and its vibrations. Often I feel we as a society can forget that the walls that separate us from the outside world are just that, “walls”. And I want to paint the electric energy, the frequencies, and molecules in between the viewer and the natural element s they see. A reminder of their connectedness to every living being.
I want a metamorphosis of opposites, but complimentary applications from expressionism, realism of nature forms, surreal graphic pushes and pulls between 2-dimensional and 3-dimesional elements. I want to insist the viewer to claim the space within the frequencies and layers of dripping element of colour of vibration that the dripping colour. A synthesis of tradition and technology, where expressive hand-painted techniques meet the rhythmic but highly controlled essence of airbrush techniques. This is a direct reflection of the urban Indian that I have embraced. It is visual presence is subtly hold’s clues of my artistic contemporary identity of urban indigenousness.