Samuel MorseJane Ash Poitras · 2005

Identification of the Artwork and Artist

Samuel Morse is a painting by Jane Ash Poitras, executed in 2005. The work is part of the collection held by the Alberta Foundation for the Arts in Edmonton, Canada.

Jane Ash Poitras, born in 1951 in Fort Chipewyan, Alberta, is a significant figure in contemporary Canadian art. Her practice often bridges traditional Cree culture with modern visual languages, incorporating elements of Dada, Abstract Expressionism, and Pop Art. This specific piece reflects her interest in layering symbolic objects and text to create complex narratives.

The artist’s background in microbiology and printmaking informs her approach to composition and material. Through her work, Poitras engages with themes of identity and the intersection of spirituality and socio-political realities.

Composition and Visual Elements

The composition functions as a dense collage of disparate objects arranged around a central focal point. At the heart of the work, a depiction of Jesus appears with arms outstretched. This central figure is encircled by a chaotic field of letters and numbers, creating a sense of layered information. Above this religious imagery, two scissors are positioned one on top of the other, cutting through the vertical axis of the arrangement.

The periphery of the piece contains several navigational and utilitarian items. A compass occupies the top left corner, while a bottle is situated in the lower left. Throughout the scene, several pens are scattered, appearing in the middle right, the upper right, and near the bottom left. These elements create a fragmented visual field where symbolic imagery and everyday objects coexist in a tight, overlapping space.

Technique, Materials and Support

This mixed media work is executed on a wood support, measuring 29.4 x 29.4 cm. The artist employs a complex layering process to achieve its textured surface, utilizing acrylic gel transfer alongside paint. These materials allow for the integration of various visual elements into a single cohesive plane.

The composition incorporates found objects, which are secured to the wooden substrate using rabbit skin glue. This traditional adhesive method, combined with contemporary acrylic transfers, creates a physical depth within the work. The interplay of these disparate materials results in a tactile surface that emphasizes the material reality of the objects used.