Nathalie Bertin, Visual Artist
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The paragraphs below are descriptions of the series of works I've completed to date. My art tends to start with one piece that triggers an idea for another piece, and so on. Working this way has allowed me to elaborate on concepts and for series to evolve organically.

Les Habitants

This series looks at traditional trades practiced by both the early European settlers and the First Nations people of Canada. More importantly, many depict some of the skills that were taught to the Europeans by First Nations in order to help them survive in Canada's wilderness.

Shown here (L-R):La bastringue est commencée, 2011; Provider's Pride, 2011; Snowshoes, 2011; Sugar Bush, 2011; Waiting On the Three Sisters, 2011..

Reflections On the Fur Trade

This series was inspired by my recent studies in Canadian social history and European settlement. During my studies, I was able to link back to my own feelings as a person of mixed heritage and as a hunter. Some of the ideas explored are based on patriotism, politics, conservation and emotional struggles.

Shown here (L-R): Fair Trade?, 2011; Driven Like the Snow, 2011; Rise of A Nation, 2011; Torment of the Heart's Desires, 2010.

On Being Métis

The paintings in this section are inspired by the Métis culture and specifically its symbols. The Métis were known as the “Flower Beadwork People”. Métis art developed from a blend of styles from both European (mainly French) and Native cultures. The symmetrical floral patterns were inspired by European floral designs but created with the geometric and linear tendencies of the Native style. Silk embroidery was introduced to young Métis girls at Mission Schools by the Ursuline Nuns. Beadwork was often done on clothing, bags and even horse saddles, and the items were traded throughout North America and Europe. However, Europeans wanted to buy their art from “real” Native people. The Métis were often forced to sell their art to Native groups who would then resell it to the European traders. Because the Métis never signed their art, it became impossible to trace it back to the person who created it. That is why we know very little about Métis art today.

The Métis sash is a fingerweaved sash typically made of wool. It was widely used by the Voyageurs and Coureurs-des-bois as a belt and a tool to help them carry, pull and haul large items while on their travels, and in first aid in case of injury. The colours of the belt were predominantly red with blue, green, yellow and white weaved within the pattern. However, predominantly blue belts were also made and used for funerals or as a means of identification between the Voyageurs and the Coureurs-des-bois.

Shown here (L-R): The Ties That Bind Generations, 2010; Fiddlin' With Time, 2010; The Ties That Bind Family, 2010; At the Heart of It All, 2011; We Are Connected, 2010

Tails From the Trail Camera

I'm lucky to have some land in the beautiful Muskoka region. It's place of utter beauty and inspiration in itself. We have a lot of wildlife but they never seem to come out much during the day. So we set up a bunch of trail cameras throughout the woods and we check on them every now and again. This series is based on the mostly night time images that we've retrieved from the cameras. The colours in the paintings were chosen to reflect a mood or idea while playing up the contrast in lighting that occurs in night time photography. Finally, the flower designs are used to link back to my heritage. They often signify something specific (such as which part of the animal is coveted by hunters) or are simply used for embellishment.

Shown here (L-R): Chasse Nocturne, 2010; Grey Ghost, 2009; Trophy, 2009; Big Caboose (top), 2010; Foxtrot, 2009.

Portraits