This overtly political painting combines a broad range of influences drawn from the contemporary history of Indigenous poeples, Coast Salish cosmology, Northwest Coast formal design elements, and Western landscape traditions. The red-figured shaman witnesses the damaged earth while landscape elements behind him weep and lie flaccid, utterly spent. As the artist wrote in 1992, "My work is very different from traditional art work. How do you paint a land claim? You can't carve a totem pole that has a beer bottle on it ... I paint this for what it is - a very toxic land base. This is what my ancestral motherland is becoming. Painting is a form of political activism, a way to exercise my inherent right, my right to authority, my freedom ... I can speak out in my paintings even without the recognition of self-government."