Norval Morrisseau

 wasn’t just a painter; he was a visionary. Unlike Picasso, who borrowed from African influences, Morrisseau created an entirely new artistic language. His paintings aren’t just beautiful; they are spiritual records, translating the shamanic journey of the soul in a way Dalí and Kandinsky never could.

While Warhol and Pollock reacted to consumerism and abstraction, Morrisseau reveals interconnectedness. His art speaks to the very essence of human existence. Chagall and Basquiat explored identity and mysticism, but Morrisseau lived and painted these truths from a place of deep spiritual awareness. His legacy is not just artistic; it is supernatural.

Van Gogh, Emily Carr, and Rembrandt explored the external world. Morrisseau’s art embodies the indivisible spirit that becomes reality. Just as Da Vinci dissected the human body, Morrisseau unveils the anatomy of the spirit. His paintings pulse with energy, radiating forces that awaken and transform.

Morrisseau’s significance surpasses that of any artist before him because his work doesn’t just reflect the world. It shapes it. Unlike the Renaissance masters depicting the divine, Morrisseau’s art channels divinity, initiating souls into ecstatic union with Spirit.

Regarding the Desecration of Norval Morrisseau’s Legacy

From: Ritchie Sinclair  | March 1 2025

An open Letter to Cory Dingle, the Norval Morrisseau Estate, Philip Cote, the Assembly of First Nations, the Metropolitan United Church, and the Canadian Artistic Community:

It has come to public attention that Philip Cote, with the full backing of the self-proclaimed CEO of the Norval Morrisseau Estate, Cory Dingle, has been provided with life-sized digital reproductions of Morrisseau’s most famous painting, “Man Changing into Thunderbird.” Cote has painted his own imagery over these copies, with the intent of exhibiting them at the Metropolitan United Church and later auctioning them off to the highest bidder as a so-called “collaboration” with Morrisseau. This act is both unethical and a desecration of one of the most sacred and iconic works in Indigenous and Canadian art history.

Cory Dingle, a former assistant caretaker of Morrisseau when he was ill, appears to have convinced seven members of the Norval Morrisseau Estate—Morrisseau’s children—to sign over their rights, giving Dingle full control over the artist’s copyright. It is important to recognize that these same individuals have been exposed as active participants in one of the largest frauds in Canadian art history, the systematic forgery of Morrisseau’s work for financial gain. This history raises serious ethical concerns regarding any decisions they make regarding Morrisseau’s artistic legacy.

Philip Cote never collaborated with Norval Morrisseau, nor did he work with or know the artist personally. His previous association with Joe McLeod, the disgraced art dealer exposed as a purveyor of fake Morrisseau artworks, further taints his credibility. Cote’s decision to alter and deface digital reproductions of Morrisseau’s sacred work demonstrates a profound lack of respect for Morrisseau’s spiritual and artistic vision. His predetermined and spiritually immature imagery is incompatible with the stream-of-consciousness paintings that defined Morrisseau’s style, and instead, it awkwardly intrudes upon and diminishes the integrity of the original work.

This defacement goes beyond personal artistic expression; it is an act that undermines the message of Morrisseau’s work. “Man Changing into Thunderbird” is not just an artwork; it is a sacred shamanic representation of spiritual transformation. This decision to exhibit the altered work and then auction it off commercializes and degrades its significance.

The Canadian public, Indigenous communities, and the artistic world at large have the right to demand that these acts of desecration cease immediately. The alteration of Morrisseau’s work for profit and prestige is an insult to both his legacy and the Woodland School of Art he established. If the Norval Morrisseau Estate, Philip Cote, and the Metropolitan United Church persist in this exploitative project, they must be held accountable for their actions.

I call upon the Assembly of First Nations, Indigenous leaders, Canadian artists, and ethical art institutions to condemn this act and to take a stand in defence of Norval Morrisseau’s true legacy. I further call upon the Metropolitan United Church to reconsider its participation in this project, which is deeply offensive to those who respect and honour Morrisseau’s vision.

True respect for Norval Morrisseau’s art means preserving its authenticity and integrity, not exploiting it for financial gain. The public must not stand idly by while his work is desecrated under the guise of “collaboration.”

Signed, 

Ritchie Sinclair
Leading the Copper Thunderbird School of Shamanistic Art
https://NorvalMorrisseauLegal.com https://Morrisseau.com 

Evidentiary Video: https://youtu.be/ugtfhodKTNY