Robeson, Eagle tribute to Paul Robeson
2026
by Roisin Cécile Yvonne Cadieux
Wood, wire, antique music, glue, protective UV Coating
32”x18”x9”
Sold
My papier mâché works using antique sheet music seek to celebrate and repurpose the best and worst quality music from my great paper era collection of music which spans close to 300 years (1723-1945). My creative endeavours have focused on creating and celebrating language with a particular focus on universal languages, of healing. As a multi lingual and multi cultural person with PTSD music was (and still is) a most tangible link to culture and healing for me. I grew up moving every two years and although we were posted far and wide, my parents, an Irish mother from the north of Ireland and a French Canadian military man with Métis heritage, made sure we were given strong links to our mixed heritage. I also use it because the wealth of printed music from the last several centuries has become obsolete for the most part. It was collected and shared with great care and love, from one generation to another, as such the quality of the paper was essential to its longevity. The greatest paper made over the centuries was made for music, which was to pass from hand to hand to hand. I have a great love for it and have always yearned to use it in my work as an artist and artisan.
Cutting up this paper is difficult so it is important for me to honour every aspect of each piece of music I used for this work. As such, the inventory of colour which result from age and addition of bleach in the 20th century, margins, print size, decorative whimsy and graphic patterns become components of my palette. As a storyteller it is important that the journey of discovery in the paper sculptures be not limited to their creative component compositions but that explored other dialogues as well. Light and dark, yin and yang.
As I come close to finishing my shape I do a coat I call the White Buffalo layer. I use paper from 1802 (of which I have a huge amount) and from 1895. I use only the margins to cover my shape in white so that it will reveal all its truths, where the problems are. With pattern it is difficult to see all the errors perfectly so the white layer reveals where help is needed. This sculptural healing journey with music began with buffalo. I was born in Manitoba and lived the nomadic life of the military family. He was the first in this musical archive exploration. I needed to make Buffalo to ground myself and follow my intuition and my animal medicine guides to achieve deep healing. Buffalo is about healing and abundance so I think of healing in abundance. I return to it every time I arrive at white buffalo stage and I am grateful again for everything buffalo medicine offers.
I am often presented with the lesson of eagle. To soar above and take a lofty view. It is important as one navigates challenging waters and living a non linear life to look beyond the minutiae and leave space for the tapestry to be revealed, leaving room to learn and be humble. There is tremendous healing in this powerful view. I wanted to name him for an equally powerful musical artist. Paul Robeson was a great hero of my mother’s and the echo of the Irish history and that of the American south was made quite clear. He was indeed one of the deepest, most powerful voices in music and deed of the 20th century. I grew up adoring him, being soothed, taught of hardships and the power of music to heal them. I still get goosebumps when I listen to his recordings, with great reverence.
I began this sculpture almost 15 years ago and brought him back into my studio to revisit his background now that I have had time to experiment and develop a greater command of the paper and its potentials, through perseverance and perspective. He is evidence that I am learning, always and should not be afraid to apply this learning.
I hope this piece brings the powerful lift of a vast perspective and equally powerful music to soothe you.
2026
by Roisin Cécile Yvonne Cadieux
Wood, wire, antique music, glue, protective UV Coating
32”x18”x9”
Sold
My papier mâché works using antique sheet music seek to celebrate and repurpose the best and worst quality music from my great paper era collection of music which spans close to 300 years (1723-1945). My creative endeavours have focused on creating and celebrating language with a particular focus on universal languages, of healing. As a multi lingual and multi cultural person with PTSD music was (and still is) a most tangible link to culture and healing for me. I grew up moving every two years and although we were posted far and wide, my parents, an Irish mother from the north of Ireland and a French Canadian military man with Métis heritage, made sure we were given strong links to our mixed heritage. I also use it because the wealth of printed music from the last several centuries has become obsolete for the most part. It was collected and shared with great care and love, from one generation to another, as such the quality of the paper was essential to its longevity. The greatest paper made over the centuries was made for music, which was to pass from hand to hand to hand. I have a great love for it and have always yearned to use it in my work as an artist and artisan.
Cutting up this paper is difficult so it is important for me to honour every aspect of each piece of music I used for this work. As such, the inventory of colour which result from age and addition of bleach in the 20th century, margins, print size, decorative whimsy and graphic patterns become components of my palette. As a storyteller it is important that the journey of discovery in the paper sculptures be not limited to their creative component compositions but that explored other dialogues as well. Light and dark, yin and yang.
As I come close to finishing my shape I do a coat I call the White Buffalo layer. I use paper from 1802 (of which I have a huge amount) and from 1895. I use only the margins to cover my shape in white so that it will reveal all its truths, where the problems are. With pattern it is difficult to see all the errors perfectly so the white layer reveals where help is needed. This sculptural healing journey with music began with buffalo. I was born in Manitoba and lived the nomadic life of the military family. He was the first in this musical archive exploration. I needed to make Buffalo to ground myself and follow my intuition and my animal medicine guides to achieve deep healing. Buffalo is about healing and abundance so I think of healing in abundance. I return to it every time I arrive at white buffalo stage and I am grateful again for everything buffalo medicine offers.
I am often presented with the lesson of eagle. To soar above and take a lofty view. It is important as one navigates challenging waters and living a non linear life to look beyond the minutiae and leave space for the tapestry to be revealed, leaving room to learn and be humble. There is tremendous healing in this powerful view. I wanted to name him for an equally powerful musical artist. Paul Robeson was a great hero of my mother’s and the echo of the Irish history and that of the American south was made quite clear. He was indeed one of the deepest, most powerful voices in music and deed of the 20th century. I grew up adoring him, being soothed, taught of hardships and the power of music to heal them. I still get goosebumps when I listen to his recordings, with great reverence.
I began this sculpture almost 15 years ago and brought him back into my studio to revisit his background now that I have had time to experiment and develop a greater command of the paper and its potentials, through perseverance and perspective. He is evidence that I am learning, always and should not be afraid to apply this learning.
I hope this piece brings the powerful lift of a vast perspective and equally powerful music to soothe you.