Exposing the crooked decision making by “Ding dong Dingle” of that spiritually bankrupt Norval Morrisseau estate...just gross.

 

Indeed it is true what they say that you cannot make a crooked bird fly straight. The hard truth and reality is just that. I’ve been watching this whole scene unfold for well over 20 years of investigation and expert research. I’ve unfortunately met them all around the legacy except for most of Morrisseau’s children, thank goodness. I have met David Morrisseau years ago who was sexually abused by his own father. Go ask David, apparently he tells just about everybody he meets. It’s common knowledge in the art circles around Toronto and lots of Indians know this. As a father myself it absolutely disgusts me that a fake legend like diddler Norval has done this to his own child, his own son. There are other victims and witnesses who have come forward since including myself. It’s the main reason why I suspect David has always been an outcast from his family. Why he was so heavily involved in the art fraud of his “Pedophile” fathers legacy. The exact same can be said of all of Norvals children. They all backed the black drybrush fakes that were spearheaded by convicted of art fraud and serial rapist in Gary Lamont from Thunder Bay Ont, an old dear friend of Norvals. This is the reality. 

The truth is that there really is no one who is even willing or who can keep these crooked birds accountable. I am that individual and I hold this light with integrity because quite frankly I believe it is absolutely wrong to prop up sexual abusers of children as cultural icons. There are many who I know feel the very same way. It is difficult for many to realize this because they’ve been lied to by so many broken souls around the legacy of Norval Morrisseau. Hiding these stories from the general public. Those in academia and in hundreds of Canadian institutions being either in denial or simply haven’t done their research regarding these dark chapters in our history. We are in a period of truth and reconciliation, not hide and seek or denial. Here’s another example of many regarding this sick and twisted legacy of the pedophile Morrisseau:

Pictured here is a screen shot from the Norval Morrisseau estate Facebook page. The insanity of this feature post that they’ve released involves none other than Phil Cote, a suspected forger of Morrisseau’s art in the 1990’s and 2000’s through Maslak Mcleod gallery now permanently shut down out of Yorkville area in Toronto. They are making crooked decisions like this, including backing the cultural appropriation and deceptions of Buffy Saint Marie, (saying statements that ol Buffy shines like 16 suns...lol) saying as well that Christian Morrisseau was a genius when really Christian was also heavily involved in the forgery of his sexually abusing fathers art works and legacy. There are so many examples of just how sick and broken that old dying bird of the Morrisseau legacy has done. It’s disgusting. The whole fuckin thing. Here’s an example of a suspected Phil Cote fake sourced from Maslak mcleod:

Here’s the guy doing a talk at the church no less where he’ll give his bullshit interpretation of Morrisseau’s “man changing into crooked bird“ in downtown Toronto on this coming weekend. That’s how truly fucked up this legacy is. It’s a national shame and a total disgrace in the woodland school of art. Backwards Charlie as my father used to say. Any how this is the true nature of how I see this whole mess. The fraud behind the fraud. For me, that’s all this shit bag of a legacy will always be. A lie. A crooked bird that will never be able to fly straight. They’ll have to come to terms with this at some point. You cannot hide and deny the truth forever. People are waking up and are starting to realize that everything I have said about it has been straight up and honest. I will not let this continue to happen to another generation of innocent and trusting souls who wouldn’t  know otherwise if it wasn’t for people like me. Willing to risk my future on behalf of the truth. Once you know? You know...

Miigwetch and all my relations,, Rainbow Thunderbird - MAJ 🌈🦅🌈

Following the origins and history of these fake Morrisseau’s being sold through KRG and Maslak Mcleod

Good afternoon to each and everyone and it’s an honour to expose these fake Norval Morrisseau’s that have been fraudulently sold through Maslak Mcleod and Kinsmen Robinson galleries all throughout the late 80’s, 1990’s and into the 2000’s. These particular fakes which differ from the black dry brush but have their own class with regard to this particular wave. What I mean by that is that these are easily distinguishable between the other 10 plus waves that are currently circulating the Canadian art market.

These bastard fakes are a serious problem. They not only misrepresent the art of Norval Morrisseau, but they also misrepresent our teachings and culture. The stories and designs are a mismatch on several levels. The techniques and inlay work along with the compositions are usually imbalanced, crooked and off kilter.  

Pictured here: Front cover of a fake Norval Morrisseau sourced from: Maslak Mcleod 

Kinsmen Robinson gallery out of Yorkville in Toronto has a long history with these fakes. When researching the history of these shitty fake paintings it is highly noticeable how KRG has vouched for this garbage. Signing fake provenance, making up bullshit history with these useless examples. It’s a crime and these are acts of cultural genocide against my culture. This is a false narrative that needs to be exposed for what it is. I warned KRG a long time ago that these fakes would have to be dealt with. Now is that time. The integrity of my culture depends on it. 

Above: Another example of a fake Morrisseau 

Above image: Yet another example of a fake Morrisseau

This is a screen capture of KRG’s denial of these truths.The above painting was proven to be fraudulent. A former apprentice in John Zemanovich who attended a show at McMicheal gallery seen where this example was stolen from on an actual authentic Norval Morrisseau painting at this exhibition. After this discovery, Kinsmen Robinson gallery immediately took down this post verifying our suspicions right away. It was not only a victory for us but more importantly for the truth of Anishanabe culture and the art of Norval Morrisseau. 

Pictured here: Fake Morrisseau titled: Lily of the Mohawk sold through you guessed it, KRG

I have been actively fighting this fraud for over 17 years now. It’s a major chunk of my time. The levels of utter bullshit and lies that Ive had to deal with is unprecedented for me as a leading First Nations Anishanabe artist. I am the only native artist who has continued to fight and who has risked my entire reputation as the direct result. Many other native artists are either too scared or simply dont really care. It’s so crazy how many people profess their love for Norval and his art but when it comes to taking any real action? Fuck all. It’s quite sad how people are worried about their money when it comes to taking on this fight. And at the end of the day, that’s really what this whole thing has been about. Making money and protecting their money. Not the culture, not the art.

This is Phil Cote. He’s a fuckin douche bag in my books. I don’t trust him and I don’t like him. I was warned about him by a few other native artists in Toronto Ontario quite a while back. I have suspected him along with a few others who are in the know about just how deep and grave this fraud of Norval Morrisseau art truly is. Phil is one who has deep roots with Maslak Mcleod back in the late 1980’s and 1990’s. He wasn’t known for woodland art at the time as he was sourcing his Inuit carvings through Maslak back then. But make no mistake about it. This guy is a master artist. Here’s an example of what he can do besides woodland style art:

It’s when I look at his woodland art examples that I begin to notice so many comparisons to these fakes which were sourced through Kinsmen Robinson gallery and their counterpart in Yorkville at Maslak Mcleod. All of these time periods fall right into place and the synchronicity of it all begs one to question this reality. I shared these findings and conclusions with the current national police investigation. I confronted this asshole twice, about it. I know that more will be revealed but I can only do so much to try and protect the authenticity of my culture. 

This is a mural by Phil Cote. Compare his inlay work, style of human figures, detailing with these fake Morrisseau’s and it’s very strange how similar everything is. I cannot find any other woodland style painter except for Phil who matches so closely. For me I can see so many similarities between them. An artist always gives himself away when it comes to their particular style and tricks that they use. I have a masters eye so I can see it. Better than any academic and most certainly better than any police investigation. They simply don’t know and thus cannot see it the way I do. This has been one of the major reasons why I have a very difficult time trusting the size and scope of this investigation. It has already been shown that the Canadian rule of law tried to make those fake black dry brush paintings real in Ontario superior court. 

Above picture is another example of Phil Cote and his art

Here is another example of how Phil Cote assembles his woodland art and techniques

Indeed the similarities are so striking and the fact that no other woodland style painter fits this comparison makes it very challenging to think otherwise. I must continue to shed all the light I can on such controversy. The integrity of my culture depends on it for future generations and as someone who is willing to speak up and speak out, I must. As a First Nations soul who is healing from genocide and being a 60’s scoop survivor, these findings must be shared. I will not let my suspicions go unchecked. This national police investigation has an obligation to investigate all leads and pursue all waves of these fakes and those suspected. Otherwise it will be an incomplete investigation. 

Again it is fakes like the last example shown above that need to be identified, singled out for what they are and finally destroyed. They are fake paintings. This is not the art of Norval Morrisseau. They are abominations. They are a form of misrepresentation of Anishanabe culture and they are fraudulent examples of a continued cultural genocide that is happening for all First Nations across Canada and beyond. 

All my relations....MAJ