Image Credit: Art Windsor-Essex     

nadyes / you come back, 2022

Bronze, shed moose and elk antlers, acrylic paint

Image Description: A rectangular white platform sits in front of a white gallery wall on a concrete floor. Upon it rests a tableaux of bronze cast hands, shed moose and elk antlers, and a light brown flat brim felt hat such as those worn by the RCMP. The wall behind this assemblage has three colour illustrations on it. From left to right they are: a burgundy-coloured outline of an antler with the word “sonic” written vertically in capital letters on its right side; an apple green outline of a hibiscus flower with the word “vibration” painted above it in lowercase; a cerulean illustration of a hand and wrist with lines demarcating, clockwise from the top, the fingertip of a ring finger, folds and creases of the inside of the palm, and the outermost part of the inner palm. An arrow on the inside of the wrist points upward to the hand’s palm and each of the four lines is labeled with a single word, reading: “show” “me” “a” “sign”.


With nadyes / you come back, Logan MacDonald uses sculptural installation to lyrically fixate on the learning and communication that exists outside colonial norms and to consider how these colonial mechanisms can be subverted. Presented as a series of arranged sculptural installations and imagery traced on the wall, MacDonald’s work forms a large coded assemblage, with each piece, in some way, gesturing to the embodiment of knowledge — how our bodies learn and teach through movements, vibrations, bodily cues and how these signals have the capacity to transmit and extend between generations. 

Bronze is used here as a symbolic signifier of the colonial narratives and systems imposed on our landscapes and bodies as well as the hierarchical ways in which we are expected to teach and learn. MacDonald employs these bronze pieces in a dismantled/fragmented state to subvert their power, absorbing the structures as aides in forming a tableaux that welcomes new meanings, histories, perspectives, movements, conversations, teachings. This conceptual approach is continued in his use of shed elk and moose antler, a biological material that references the animals’ speculated ability to sonically hear both mates and prey.

An attempt to lyrically highlight our capability to communicate beyond colonial language, nadyes / you come back illustrates how Indigenous, queer, and crip folks continue to strategize to communicate our knowledge, needs, and desires despite living alongside colonial systems designed to ensure our erasure.

Text by Amanda Cashia, edited here by Sarah-Tai Black

Artist Bio

Logan MacDonald is an artist, curator, writer, educator, and activist who focuses on identity and belonging through queer, disability, and decolonial perspectives. He is of mixed-European and Mi’kmaw ancestry and identifies with both his Indigenous and settler roots. Born in Summerside, Prince Edward Island, his Mi’kmaw ancestry is connected to Elmastukwek, Ktaqamkuk. His artwork has been exhibited across North America, notably with exhibitions at L.A.C.E. (Los Angeles), John Connelly Presents (New York), Ace Art Inc. (Winnipeg), The Rooms (St. John’s), and BACA (Montréal), His work has been published by Goose Lane, Canadian Art, C Magazine, UN Projects, and more. In 2019, MacDonald was longlisted for the Sobey Art Award and was honoured with a six-month residency at the Künstlerhaus Bethanien in Berlin.  He holds a BFA in Interdisciplinary Studies from Concordia University and a MFA in Studio Arts from York University. In 2019 he was the lead Accessibility Consultant for the Toronto Waterfront Sidewalk Labs project; in 2021, he was a keynote speaker for the Canadian Public Arts Funders (CPAF); and in 2022 he was a respondent for the Ontario Arts Council’s 2022-2027 Strategic Plan. Currently, MacDonald is a Canada Research Chair and Assistant Professor in Studio Arts at University of Waterloo.