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The body language lys photographed is spare and the land the far side of tes the scene, with the couple set t0 1e photograph. They are siting on outdoor chairs, ing the proces: of being photographed. They are holding onto each ie reaching her hs Rober. snd and sky reach bend dl of capt asic chairs and the standard jores. The power ofthe is the sense of immensity that unfolds behind and around the old and the sky: it ether place. Th ensity: their love for each other, their happiness in survival, 3 join participating in Wilbur's Projet 54 lieve, ako Iva chance eo be part ofresiseance This joy conteases markedly to orth Americans photographed in the ear 1 akes the tool of the camera and turns to face down the colonizers gaze, thus creating an archive of images for the people. To rerurn to a point made 3s chapter, although Wilbur did not re ies of Projet 562 for the Internet ~ that is, the photographs exist nerely a scanned images ~ she uses her personal website as an archive ages. On this website, she accompanies the images with that describes the photographic subjects and her inceraetor photographic locales, and with the tribe or tribes in which the CCounterdiscourse, seeing anew 203 Wilbur’. nomadic existence as she kes che photographs for ‘photographs For this project ~ bears comparison to philoso aze and Felix Guattari’ theory of political resistance exempl is always berween two poi enjoys theory is about Matika W. con perfor and she alo photographs that intesect with her performance pieces. Her photographs go far she deploys to creat formances, and events that convey 2 counterbstory of Fist Nations i is chapter, can be ehought of aa ‘dominant ideology tries 10 suppress and elide les ofthe power of snce piece, Vil, and the film ank ined. The works are dedicated 0 protesting and re ff the abduction and murder of First Natio 70 into the twenty-first c ouver, British Columbia, i port disappear by In the early ewenn ily of maiple counts of murder* abducted and killed women of several races, andis woman puts in ply che question of whether the woman i Shi ler and appears to be her body, but a slanting wound sashes through adits sur ‘mouth a rose. exposed back, and a raised kc blood, strings Inder it and bodice to a telephone 9 photogeaph plays ehrough sever the red dies to shreds, stepping fee dresed on Wester performance ends when a man, her partner idea of “fringe” or beaded ga the disappeared, were abducted by getting into films ae parly responsi racist image of indige now, as traditional Westerns sypcally depice Native monosylabic, and deesed in garments that Hollywood cos Iuded the use of decorative fringe. Needless that of the dead by vere abducted. She pert herself - via a red dres206 Counterdscourse, secing anew young woman in a state of grace may be dead, bu socal space of the galley She isnot the visual posesion of the gallery vsi~ he viewer as breath and wind currents move The spectral aspect of this photograph brings up the question of discursive hosting” that I mentioned at the beginning of this chapter. If North Americans ropean descent have created the stereotype of indigenous North Americans a vanished peo} does Rebecca Belmore recurn trope to subvert, to turn ocurn history: in State of Gra, Belmore reckons with disappeared ‘Named a we and other sen given a place of hon tate of grace, never sinned oF because row of te photograph violence that was symbolically a th she gives the dead voice, body, and space, Belmore herself performs this role in Vigil White thread Jose my discussion of Rebecca Belmore’ photography with a look 2t Belmore’ ion Ti aia express as colonialist aggresion, iple wars European Americans ead presents a young person Counterdiscourse,seing anew 207 1 bound person is feminine with slender ankles, narrow shoulders, and a slightly curved figure No other person and no other object are shown in photographed and the red cloch threaded through with white chat binds this person Jnown as ona stage, and framed by proscenium, and self-aware positioning ofthe photograph as Tread: only the person this articulation of the oppressed person's capacity for mn ~ i the thread that binds her can be raveled ~ Belmore's read is most deeply feminist.