In his Imaginary Indian series, Nicolas Galanin starts with pseudo tribal objects, ones that are based on original objects made for ceremonial or daily use, but are actually replicas made for the tourist trade in Indonesian factories. In the manner of camouflage, the objects are painted with the same pattern and hang in front of wall paper. The presentation is further inverted by the use of 18th-century inspired wall paper with a red and ivory pastoral pattern, featuring people frolicking in nature. Like the works of Alan Michelson and Mary Ann Barkhouse, locating this work within Glyndor House enriches the reading of it, and extends the idea of camouflage. The wall paper could have easily been chosen for this room and there is much dimension to the molding. In the context of this exhibition, the two Imaginary Indian pieces pose questions about authenticity and assimilation.

Nicolas Galanin is a Tlingit Aleut who comes from a long line of Northwest Coast artists. He merges his training in both traditional and contemporary art in an interdisciplinary practice that involves sculpture, video and music. His work has been included in many group shows including Beat Nation - Hip Hop as an Indigenous Culture, Saw Gallery, Ottawa, ON; No Reservations, Aldrich Contemporary Art Museum, Ridgefield, CT; Second Lives, Museum of Art & Design, New York, NY; Intersections, Native American Art in a New Light, Peabody Essex Museum, Salem MA; On The Edge, Forging New Directions In Alaska Native Art, Museum of the North, Fairbanks, AK, among others. He traveled widely for his education, earning a MA in Indigenous Visual Arts, Massey University, New Zealand; BA in Silversmithing and Jewelry Design, London Guildhall University, London, UK; AA from University of Alaska Southeast, Sitka, AK.

More information can be found at www.nicholasgalanin.com