All language subtitles for The.Exhibition.2013.1080p.WEBRip.x265-RARBG2_English

-YOU KNOW, THAT QUESTION

OF WHEN I STARTED
THE FORGOTTEN PROJECT...

WAS I NAIVE?

AND, YEAH, I WAS.

I WAS NAIVE TO THINK

THAT I CAN APPROACH THESE ISSUES
IN THE WAY I DID

WITHOUT...

EXPERIENCING
THE KIND OF CONTROVERSY I HAVE.

[LOUD RUBBING SOUND]

-I WAS WORKING IN THE CENTRE,
AND I FOUND IN A DRAWER

SOME PHOTOGRAPHS
BY LINCOLN CLARKES

OF THE WOMEN
THAT CAME TO MY SHELTER.

AND WHAT I LEARNED WAS
THAT HE DROPPED OFF SHOTS

FOR THE WOMEN
THAT HE TOOK OF THEM,

AND THE DEAL
WAS THEY WOULD PICK THEM UP,

AND THE FIRST
THAT I LEARNED

THAT A WOMAN WAS MISSING

WAS SHEILA EGAN.

SHE NEVER CAME TO PICK UP
HER PORTRAIT.

IT REACHED
MORE OF A FEVERISH PITCH

IN ABOUT 1999,

WHEN THE MISSING WOMEN'S
TASK FORCE

RELEASED A POSTER OF THE WOMEN
THAT WERE MISSING AT THAT TIME.

-THAT YEAR,
WE HAD A DISAGREEMENT

ABOUT SOME THINGS
THAT SHE WAS DOING,

AND AT FIRST I THOUGHT

THAT THAT WAS WHY
SHE WASN'T PHONING.

SHE WAS STUBBORN.
I WAS STUBBORN.

BUT AFTER A FEW MONTHS, I KNEW.

I KNEW
THAT THERE WAS SOMETHING WRONG.

-WHEN I HAD FINALLY TALKED
TO THE POLICE,

I WAS UNDER THE UNDERSTANDING

THAT MARNIE
WAS THE FIRST PERSON MISSING.

LITTLE DID I KNOW
SHE WAS NUMBER 26.

-THE NUMBERS
WERE JUST INCREDIBLE,

AND MANY OF THE WOMEN, YOU KNOW,

WE ALL KNEW ONE OR TWO,
AND, YOU KNOW,

WOMEN THAT WERE WALKING WITH US
ONE YEAR,

GONE MISSING THE NEXT YEAR.

THEY KNEW AT THAT TIME
THAT THERE WAS A SERIAL KILLER.

THEY ALREADY IDENTIFIED THAT,

AND THEY WEREN'T TELLING
THE PUBLIC.

-IT WENT FROM BAD TO WORSE...

TO RIDICULOUS TO UNBELIEVABLE.

WHAT WE HAVE
IS A NATIONAL DISGRACE

THAT OCCURRED HERE IN VANCOUVER,

AND WE DIDN'T STOP IT.

[POLICE SIRENS WHINE]

-IT WAS AROUND SUPPER TIME,
I THINK.

I GOT A PAGE,
AND IT WAS MARK CHERNOFF,

AND HE SAID,
"THEY'RE SEARCHING THE FARM,"

AND I SAID, "WHAT FARM?"

AND HE SAID,
"THE PICKTON FARM."

I JUST SAID, "OH, MY GOD."

WE SHOULD HAVE HAD HIM IN '99.

WE DIDN'T HAVE ENOUGH IN '98,

BUT WE HAD ENOUGH
IN AUGUST OF 1999,

AND WE SHOULD HAVE HAD HIM.

I JUST STARTED THINKING
OF NUMBERS,

AND, YOU KNOW, I WAS THINKING
13, 12, 13, 14 WOMEN

THAT PROBABLY DIED IN THAT TIME,

WHEN HE REALLY SHOULD HAVE BEEN
IN CUSTODY.

-THIS CASE IS NOW THE LARGEST
SERIAL KILLER INVESTIGATION

IN CANADIAN HISTORY.

-DURING THE TRIAL

AND IN THE PRE-TRIAL
PROCEEDINGS,

THERE WERE LITTLE GLIMPSES
OF THE LIVES OF THE VICTIMS,

BUT THE FOCUS HAS BEEN ALMOST
EXCLUSIVELY ON ROBERT PICKTON.

THE FOCUS ON THIS PERPETRATOR
EXCLUDES THE PUBLIC

FROM WHAT HAPPENED
TO THESE WOMEN,

AND THEY BECOME
SORT OF A CATALOGUE

OF BODY PARTS AND DNA SMEARS
ON WALLS.

WHEN SHE MAKES
THESE WORKS PUBLIC,

THAT WILL CHANGE THE FOCUS BACK
TO WHERE IT NEEDS TO BE

FOR US AS A SOCIETY,

TO LOOK AT THE PROBLEMS
THAT LED TO THESE KILLINGS.

SEEING THOSE PAINTINGS
IN THE BACK ROOM

AND SEEING THE PAINTINGS
IN THE FRONT ROOM

RAISED A LOT OF QUESTIONS FOR ME
ABOUT PAMELA.

WHAT WOULD MAKE A PERSON

WHO WAS BUILDING A CAREER
ON BEAUTIFUL PICTURES,

WHAT WOULD POSSESS HER
TO TAKE ON THIS PROJECT

THAT DREDGED UP
THE WORST POSSIBLE ASPECTS

OF HUMAN BEHAVIOUR?

-WE STARTED HEARING ALL
OF THIS INCREDIBLY BRUTAL STUFF.

WE COULDN'T TELL THE STORY.

I COULDN'T DO MY FULL JOB
BECAUSE OF THE PUBLICATION BANS

THAT WERE IN PLACE,

AND THEY WERE VERY STRICT.

THEY FOUND, WHAT, THREE HEADS
IN BUCKETS OUT ON THE FARM.

SOME OF THEM HAD...

I THINK ALL OF THEM
HAD BULLET HOLES IN THEM.

THE HEADS HAD BEEN BISECTED,

PROBABLY
WITH A RECIPROCATING SAW.

THEY HAD THE HANDS
INSIDE THE HALVES OF THE HEADS,

AND THEY WERE RESTING
ON THE FEET.

-THANK YOU VERY MUCH.

-THANK YOU.

-WELL, WE KNEW
SHE'D GONE MISSING, OF COURSE,

SO THEN IT WAS ABOUT 2001.

IF THEY FIND DNA
ON ANY OF THE WOMEN,

THEY SEND THE VICTIM ASSISTANCE
SERVICES,

ALONG WITH THE RCMP,

AND THEY MAKE A PHONE CALL
TO YOU,

AND THEY TELL YOU

THAT THEY'RE COMING OUT
TO YOUR HOME

AND THAT THEY'RE BRINGING
VICTIM SERVICES WITH THEM.

THEY DON'T TELL YOU
ANYTHING ELSE

UNTIL THEY GET THERE.

AND THAT MORNING,

WE SAT AT MY KITCHEN TABLE,

AND THERE MUST HAVE BEEN
TWO RCMP, I BELIEVE,

AND ABOUT
THREE VICTIM ASSISTANCE WOMEN,

AND THE ONE RCMP SAID,
"HOW WOULD YOU LIKE IT?"

AND I SAID, "GIVE IT TO ME
STRAIGHTFORWARD AND DIRECT.

DON'T BEAT AROUND THE BUSH."

AND HE SAID, "WE FOUND DNA
ON THE PICKTON FARM

"OF YOUR SISTER,

"AND AS IT STANDS,

"ROBERT PICKTON'S
GOING TO BE CHARGED

WITH YOUR SISTER'S MURDER."

I THINK THE BIGGEST THING
WITH ME IS, YOU KNOW,

I'VE LET GO OF MY SISTER.

I KNOW SHE'S IN THE BEST HANDS
SHE COULD BE IN,

BUT WHEN YOU THINK
ABOUT HOW THEY WERE MURDERED,

AND WHEN YOU'RE SITTING
IN THAT COURTROOM

AND YOU'RE BEING TOLD

THAT THEY WERE STRUNG UP
ON MEAT CLEAVERS

AND THEY'RE BEING CUT OPEN
FROM TOP TO BOTTOM

AND THEY'RE BEING DEGUTTED
AND CHOPPED UP

INTO SMALL LITTLE PIECES,
LIKE...

THESE ARE REAL PEOPLE.
THESE WERE WOMEN.

THEY WEREN'T JUST PROSTITUTES
AND DRUGGIES ON THE STREETS.

-IN 1997,

14 WOMEN WERE FOUND DEAD

OR WENT MISSING
FROM THE EAST SIDE.

14 WOMEN IN ONE YEAR.

CAN YOU IMAGINE IF THAT HAPPENED
IN WEST VANCOUVER?

YOU CAN'T.

WELL, BEHIND THAT BRUSH STROKE
THAT MIGHT LOOK VIOLENT,

VIOLENTLY EXECUTED,

OR THAT SLASH IN THE CANVAS

OR THE COLOUR OF BLOOD

THAT MIGHT REPRESENT SOMETHING

ALONG THE LINES
OF THE WOMAN'S DEATH,

I THINK
THAT BECAUSE THERE'S A PERSON

BEHIND THE ACT OF VIOLENCE,

WHICH WOULD BE ME IN THIS CASE,

THAT THERE'S GOING TO BE...

NOT NECESSARILY A GOOD REACTION.

IT'LL MIMIC THE IDEA
OF BEING ABLE TO BLAME SOMEONE.

AND SO THAT WOULD BE ME
IN THIS CASE.

AND, UH...

[LOUD SCRAPING]

SO, I DON'T THINK
IT'LL BE RECEIVED WELL,

THAT PART FOR SURE.

SOME PEOPLE REALLY NEED TO BE
WOKEN UP TO THE IDEA

THAT THIS IS REALLY HAPPENING
AND THAT IT'S TIME TO CHANGE.

IT'S NOT ABOUT MEMORIALIZING
A WOMAN OR ANY OF THESE WOMEN.

I MEAN, I DON'T MEAN TO BE
SO HARSH WHEN I SAY THAT

BECAUSE THAT'S NOT
WHY I'M REALLY PAINTING THEM.

IT'S NOT TO MEMORIALIZE THEM.

IT'S TO HAVE THEM STARE US BACK
AS A SOCIETY IN THE FACE,

IN OUR FACES.

I JUST HAVE THIS VISION,
YOU KNOW?

I DON'T REALLY...

I CAN'T ALWAYS CONVEY THINGS
WITH A WORD.

I STARTED PAINTING THE FACES
FEBRUARY 2006.

IT'S DAYS BEFORE JULY 2007,

AND...

I'M JUST BELOW 20,

SO THERE ARE 69
THAT I'M PAINTING.

I CAN'T SAY.

I CAN'T SAY
WHEN I'LL HAVE THEM DONE.

-VANCOUVER IS A VERY SMALL CITY.

IT'S A MINUSCULE PLACE.

YOU CAN DRIVE THROUGH IT
IN 15 MINUTES.

IT'S NOT LONDON.

IT'S NOT MARSEILLES
OR MEXICO CITY,

THOUSANDS OF SQUARE MILES.

WE'VE ONLY GOT 12 BLOCKS
TO WORRY ABOUT.

-THE DOWNTOWN EASTSIDE,

WHERE I WALK IN THE CAPACITY
OF A BEAT OFFICER,

THE PLACE
IS LIKE A GOLDFISH BOWL

OF SOCIETY'S PROBLEMS.

DRUG ADDICTION, ALCOHOLISM,
MENTAL HEALTH PROBLEMS,

CRIME, POVERTY...

YOU NAME IT, IT'S THERE.

-I THINK MOST URBAN SETTINGS
HAVE AREAS THAT ARE SIMILAR.

HOWEVER, THAT NEIGHBOURHOOD,
YOU KNOW,

HAS THE HIGHEST REPORTED NUMBER
OF SEXUAL ASSAULTS IN THE CITY,

WHICH IS TO SAY THAT THE NUMBERS
ARE THROUGH THE ROOF.

-WE HAD TWO PEOPLE
STABBED OVER HERE.

WE HAD A GIRL STABBED
ON THE STEPS.

AND THEN LAST WELFARE DAY,

ANOTHER GIRL GOT STABBED
IN FRONT OF THE DOOR HERE,

NOT THIS DOOR,
BUT THE OTHER DOOR.

-I CALLED ON MY CELL PHONE
9-1-1

AND SAID, "I WANT TO REPORT
A PERSON MISSING.

IT'S A FRIEND OF MINE."

THE MISSING PERSON'S DEPARTMENT
GIVES ME A CALL AT WORK

AND I SAID, "LOOK, I KNOW SARAH.

SHE'S MISSING.
SHE JUST DIDN'T RUN AWAY."

AND THEN HE STARTED TALKING
ABOUT,

"WELL, YOU KNOW, WOMEN, LIKE,
YOU KNOW,

"THAT WORK THE STREETS
AND STUFF LIKE THAT,

"THEY GO FROM CITY TO CITY.

YOU KNOW, THEY SHOW UP AGAIN."

THAT'S EXACTLY WHAT HE SAID.

"THEY SHOW UP AGAIN."

-IT STARTS FROM THE CHIEF
AND WORKS ITS WAY DOWN,

SO YOU'VE GOT RANKING OFFICERS

WHO ARE BEHAVING IN RACIST
AND SEXIST MANNERS,

AND YOU FOLLOW THAT LEAD,

BECAUSE IT'S BEEN DRILLED
INTO YOU

AND INGRAINED INTO YOU

THAT YOU DO
AS YOUR SUPERIORS DO.

THE WOMEN WHO SELL
THEIR BODIES FOR SEX,

THEY DID NOT DESERVE...

THEY DID NOT DESERVE ANYTHING.

-IN MY SEARCH FOR SARAH,

I PUT OUT LOTS OF POSTERS.

I WAS PUTTING THEM UP
EVERYWHERE.

I WALKED THE STREETS
DAY IN AND DAY OUT.

I HAD THEM ON MY CAR.

I GOT A COUPLE OF TIPS,

BUT THE ONE WE'RE TALKING ABOUT
NOW IS BILL HISCOX.

HE CALLED AND HE SAID,
"WILLY, A PIG FARMER,

"HAS ALL
OF THESE WOMEN'S CLOTHING

WITH BLOOD ON THEM
ON THEIR FARM,"

AND LISA YELDS,

SHE IS THE ONE
THAT TOLD HIM THIS STORY.

-I HAVE A STEPSISTER
WHO WAS VERY CLOSE WITH WILLY

AND WAS ALSO DOING ODD JOBS
FOR WILLY AS WELL.

ONE OF THEM WAS CLEANING
HIS TRAILER A LOT.

SHE STARTED TO NOTICE THINGS...

GIRLS' CLOTHING, I.D.s,
YOU KNOW, INHALERS,

AND SHE SAYS, "YOU KNOW, BILL,

I THINK THIS IS WHERE
ALL THOSE WOMEN ARE GOING."

-WE HAD A NUMBER OF PROBLEMS.

LISA YELDS,
WHO WAS MR. HISCOX'S FRIEND,

WAS EXTREMELY ANTI-POLICE,

IN NO UNCERTAIN TERMS,

WOULD NOT COOPERATE
WITH THE POLICE.

EVERYONE AGREED
THIS WAS EXTREMELY COMPELLING,

BUT EVERYONE ALSO SAID,

"YOU'LL NEVER GET
A WARRANT ON THAT."

I RAN PICKTON
FOR A CRIMINAL RECORD,

AND THE ONLY TWO ENTRIES
I GOT ON HIM

WERE ATTEMPT MURDER,
FORCIBLE CONFINEMENT,

AND THEY WERE
STAY OF PROCEEDINGS,

AND I REMEMBER, I JUST THOUGHT,

"THIS IS THE KIND OF GUY
I'M LOOKING FOR."

-SHE ALREADY KNEW

AND WAS ALREADY AWARE
OF PICKTON,

AND SHE ALREADY KNEW
WHERE THE FARM WAS.

IT WAS, "LET'S SEE
IF BILL KNOWS WHERE IT IS,"

AND I TOOK HER STRAIGHT
TO THE FARM,

AND I SAID, "THIS IS THE MAN
YOU NEED TO BE LOOKING AT,

"NOBODY ELSE.

LOOK AT THIS GUY BECAUSE
IT'S REALLY FREAKY IN THERE."

-I FELT STRONGLY

THAT AN UNDERCOVER OPERATION
WAS WHAT WE NEEDED TO DO,

WHICH I COMMUNICATED
TO COQUITLAM RCMP

AND SAID, "LOOK, WE'LL HELP YOU
WITH SURVEILLANCE.

"WE JUST CAN'T INITIATE IT
OURSELVES

BECAUSE IT'S IN YOUR BACKYARD,"

AND SO THAT'S REALLY
WHERE IT WAS AT,

AND THEN IT JUST DIED.

I DIDN'T KNOW HOW TO TAKE IT
TO THE NEXT LEVEL,

AND I EXPECTED,
AND THIS IS...

I KNOW
I SAID THIS IN MY EVIDENCE,

THERE WAS AN ABSENCE OF ANYONE
WHO I WORKED WITH,

SAYING TO ME, "THIS IS HOW
WE TAKE IT TO THE NEXT LEVEL.

"THIS IS WHAT WE DO.

"WE'RE THE HOMICIDE GUYS SAYING,

"'LORI,
THIS IS A SERIAL KILLER.

"'YOU'RE RIGHT.

LET'S TAKE IT
TO THE NEXT LEVEL.'"

THERE JUST WASN'T
THAT LEADERSHIP.

-THERE WAS JURISDICTIONAL
PROBLEMS

BETWEEN THE RCMP AND THE VPD,

AND THEY NEVER PROCEEDED,

AND MORE WOMEN CONTINUED TO DIE.

-I DECIDED THAT I WAS GOING
TO RE-ENACT THE KILLING

OR THE DEATH OF THESE WOMEN,

AND SOMETHING STRANGE HAPPENED
WHEN I DID THIS.

IT FELT EMOTIONALLY

LIKE I HAD PIERCED
THE SKIN OF AN INDIVIDUAL,

LIKE, IT WAS JUST...

I CARRIED A LOT OF THAT WITH ME

TO THE POINT
WHERE IT REALLY DISTURBED ME.

I GUESS THE WHOLE IDEA
BEHIND IT

WAS TO GO BACK TO THOSE WOUNDS

AND TO STITCH THEM UP,

AND THEN COVER UP THE STITCHING,

AND IT WOULD ONLY JUST
SHOW TRACES

OF MAYBE SOME SORT OF STORY
ABOUT THAT INDIVIDUAL.

I'M DOING THAT NOT JUST
WITH THE STITCHING,

BUT ALSO WITH
NEWSPAPER CLIPPINGS,

SO THE INFLUENCE OF MEDIA
IN THEIR LIFE.

YOU KNOW,
THE PUBLIC WITH THE MEDIA

AND THE STORIES
THAT HAVE BEEN TOLD,

SO WHAT THE PUBLIC REALLY KNOWS,

AND HOW THERE'S THIS PLACEMENT
OF RESPONSIBILITY

ON THIS KILLER, YOU KNOW...

IT'S ALMOST LIKE
THERE'S A REALLY BIG CHANCE

OF SOCIETY IN GENERAL
JUST REALLY PLACING THE BLAME

ON THAT PERSON,
THAT INDIVIDUAL,

SO THAT THERE'S NO SOCIAL BLAME.

WELL, WHY DID THIS HAPPEN
IN THE FIRST PLACE?

IF A FAMILY MEMBER COMES TO ME,

OR THERE'S A BEEN A FEW

THAT HAVE SENT ME E-MAILS
WITH PICTURES,

THEN I'M GOING TO RESPECT WHAT
THEY'RE TRYING TO DO, RIGHT,

BUT I STILL HAVE TO MAKE
A FINE BALANCE

BETWEEN THAT
AND THE CREATIVE PROCESS,

WHICH SOMETIMES IS A CHALLENGE.

EVEN THOUGH I DON'T MAKE, LIKE,

REALLY MAKING THE DEALS
WITH MY COLLECTORS,

I'M STILL MAKING THESE DEALS,

AND I'M PURPOSELY MAKING
LARGE-SCALE WORKS

SO THAT I COULD INCREASE
MY REVENUE

TO PAY FOR THE FACES.

$22,000.
THAT'S FOR THAT SIZE OF WORK.

FOR SOMETHING BIGGER,

FOR SOMETHING
THAT'S COMMISSIONED,

IT WOULD NORMALLY BE ABOUT
$35,000,

SO THAT'S ABOUT 70 GRAND,

SO YOU GUYS ARE GOING FROM THAT
TO 50,

SO YOU'RE...
NO, NO,

BUT YOU'RE GETTING ALREADY
THE EXTRA 30% OFF FOR THAT.

IF I BUY
ALL OF THE ALUMINUM FRAMES

WITH THIS ONE COMPANY,

WHAT WOULD NORMALLY BE ABOUT
$1,500 WOULD BE ABOUT $700,

SO THAT TIMES 69.

THEN THE PAINTS THEMSELVES
COST ME

ABOUT $600 IN PAINT SUPPLIES

TIMES 69.

I'D SAY THIS PROJECT'S GOING
TO COST PROBABLY ABOUT...

$150,000,

AND BECAUSE
I ESTIMATED THAT MUCH,

MURPHY'S LAW'S GOING TO BE,
YOU KNOW, $300,000?

[LAUGHS]

I'M NEVER REALLY GOOD
AT THAT WHOLE ESTIMATING THING.

OH...

IT'S JUST NOT WHAT WE AGREED
UPON, THE DOLLAR AMOUNT.

[CAR ALARM BEEPS OFF]

-THEY HAD A DETECTIVE
BY THE NAME OF KIM ROSSMO

IN THEIR EMPLOYMENT,

ONE OF THE MOST
RENOWNED CRIMINAL PROFILERS

PROBABLY IN THE WORLD.

-KIM ROSSMO FIRST BEGAN TO COME
TO MY ATTENTION

WHEN WE STARTED HEARING
ABOUT THIS FORMER BEAT COP

WHO WAS DOING A Ph.D.
IN, WHAT WAS IT,

GEOGRAPHIC PROFILING
AT SIMON FRASER,

AND HE WAS DEVELOPING
THIS METHOD

OF IDENTIFYING CRIME
THROUGH MATHEMATICAL PROCESSES.

-IN THE FIVE YEARS I WAS IN
THE VANCOUVER POLICE DEPARTMENT

GEOGRAPHIC PROFILING SECTION,

WE WORKED CASES FOR THE FBI,

THE GERMAN POLICE,

THE BELGIAN GENDARMERIE,

NEW YORK POLICE DEPARTMENT,

LOS ANGELES POLICE DEPARTMENT,

LITERALLY ALL OVER THE WORLD.

I WENT BACK 20 YEARS,

FOUND THE NUMBER
OF UNFOUND MISSING WOMEN

FROM THE SKID ROAD AREA,
WHICH IS QUITE SMALL,

UNTIL WE GET TO '95,

AND THEN THINGS SPIKE UP.

ANY EXPLANATION FOR THIS

HAS TO ACCOUNT
FOR THE FOLLOWING.

WHY ARE WE SEEING THIS
IN VANCOUVER?

WE'RE NOT SEEING IT

IN OTHER SKID ROADS
IN OTHER CITIES.

WHY ARE WE NOT FINDING
ANY BODIES?

AND MOST IMPORTANT,

WHY IS THIS JUST HAPPENING
WITH WOMEN AND NOT MEN?

MAJOR CRIME PUT FORWARD
A NUMBER OF THEORIES,

NONE OF WHICH COULD EXPLAIN
ALL OF THOSE QUESTIONS.

THE ONLY ANSWER
THAT COULD EXPLAIN THEM ALL

THAT WE COULD SEE

WAS A SERIAL KILLER.

THE RESPONSE
TO MY REPORT WAS THAT,

"HEY, WE'VE HAD YEARS TO FIND
ALL THESE MISSING PEOPLE.

"YOU GIVE US ANOTHER FIVE YEARS

AND THIS SO-CALLED 'SPIKE'
OF ROSSMO'S WILL FLATTEN OUT."

-IT WAS OBVIOUS THAT THERE WERE
SERIOUS PERSONALITY ISSUES

IN THE VANCOUVER
POLICE DEPARTMENT.

-IT WAS REALLY A STORY OF,
I THINK,

VERY POOR SENIOR MANAGEMENT

RUNNING A VERY IMPORTANT AGENCY.

-THE PEOPLE IN OUR ORGANIZATION

THAT COULD HAVE CHAMPIONED
PICKTON

AS A VERY VIABLE SUSPECT,

THEY WERE STILL SAYING, "WELL,
WHERE ELSE COULD THEY BE?"

-THESE WOMEN ARE MISSING,

BUT WE HAVEN'T FOUND
THEIR BODIES.

WE DON'T KNOW THAT THEY'VE,
YOU KNOW,

MET UP WITH FOUL PLAY.

THEY'RE SIMPLY MISSING.

-AT THE SAME TIME IN VANCOUVER,

THERE WERE A SERIES
OF GARAGE ROBBERIES

HAPPENING ON THE WEST SIDE.

NOBODY WAS HURT.

PEOPLE WERE FRIGHTENED,

AND THE MAYOR AT THE TIME,
PHILIP OWEN,

DECIDED TO OFFER
A $100,000 REWARD

FOR INFORMATION IN THOSE CASES,

BUT THEN
ON PUBLIC, ON TELEVISION,

HE WAS ASKED ABOUT
THE MISSING WOMEN

AND ABOUT A REWARD IN CASES
OF THE MISSING WOMEN.

-WE'RE NOT GOING TO PUT UP
A $100,000 REWARD

TO HAVE A LOCATION SERVICE.

-IT'S NOT OUR JOB, YOU KNOW?

PEOPLE ARE GOING
TO GO SOMEWHERE.

THAT'S THEIR BUSINESS.

IT'S NOT OUR JOB
TO LOCATE THEM.

-I WAS MARGINALIZED
BY MAJOR CRIME.

THEY DID FORM
THE ONE INVESTIGATIVE TEAM

TO LOOK AT IT,

BUT THEY WERE
UNDER-RESOURCED.

NEITHER AGENCY WAS WILLING
TO PURSUE IT, VPD AND RCMP.

AFTER THE WORK
ON THE MISSING WOMEN CASE,

THEY DIDN'T ASK ME
FOR A SINGLE GEOPROFILE.

-HE WAS SUMMARILY DISMISSED
BY THE VPD

AND HE HAD TO TAKE
HIS ACTUALLY WORK ELSEWHERE,

EVEN THOUGH SCOTLAND YARD,
FBI, AND OTHER PLACES

WERE USING HIS WORK.

-THE HEAD
OF THE POLICE DEPARTMENT SAID,

"THE RESOURCES WILL BE THERE.

"ALL THE RESOURCES
THAT YOU NEED WILL BE THERE

AS SOON AS THERE'S EVIDENCE,"

AND IT'S EXACTLY
WHAT HAPPENED.

AS SOON AS THE PROPERTY
WAS IDENTIFIED

AND THEY GOT ON THE PROPERTY,

ALL THE RESOURCES
WERE THERE,

BUT THE RESOURCES
WERE NEEDED TO GET THERE,

AND THEY WEREN'T AVAILABLE.

-IT'S VERY SAD

THAT THEY DIDN'T TAKE ACTION
WITH KIM,

WITH DETECTIVE ROSSMO'S
INFORMATION,

BECAUSE I CAN TELL YOU
STRAIGHT UP,

WE PROBABLY WOULD HAVE SAVED
ABOUT 15 WOMEN'S LIVES,

AND ONE OF THEM WOULD HAVE BEEN
SEREENA ABOTSWAY'S LIFE,

WHO WENT MISSING
IN THE SUMMER OF 2001.

SHE CAME BY TO SEE ME
EVERY SINGLE NIGHT I WORKED.

I KNEW HER
FROM THE HOLDING CELLS,

AND I KNEW HER SUBSEQUENTLY ON

WHEN I WENT TO WORK
ON THE HEALTH OUTREACH VAN.

SEREENA WOULD SHOW UP
AND SAY HI.

"HI, MOM,
JUST WANT TO TALK TO YOU."

MY DAUGHTER KNEW HER.

SHE WAS ACCEPTED.

ON OCCASION,
I'D GO TO THE COQUITLAM CENTRE

AND I'D HEAR THIS VOICE, "MOM!"

AND I'D LOOK OVER,
AND THERE'S SEREENA.

BLESS HER HEART, SHE'S RUNNING
TOWARDS ME FOR A HUG,

AND I'M MORE THAN WILLING
TO GIVE HER A HUG,

HER IN HER PINK SPANDEX,

BUT THERE SHE IS, SHE WAS OUT
VISITING HER FOSTER PARENTS.

WE BUMPED INTO EACH OTHER.

OTHER PEOPLE MAY WONDER,
"WHO IS THIS GIRL?"

SHE WAS MY GIRL
FOR SO MANY YEARS...

AND TO SEE THIS GIRL'S PICTURE
APPEAR ON THAT POSTER

WAS LIKE LOSING MY CHILD.

MANY WILL ATTEST TO THAT,

BECAUSE SHE WAS LIKE
A CHILD TO ME.

SHE WROTE ME LETTERS.

-SHE'S KIND OF A FUNNY GIRL,
GOOD SENSE OF HUMOUR,

BUT HEAVILY ADDICTED TO DRUGS

AND INTO THE PROSTITUTION SCENE
IN A BIG WAY,

SO SHE WAS QUITE VULNERABLE.

WHAT'S YOUR FAVOURITE SONG?

-SPICE GIRLS.

-WHICH ONE?
WHICH SONG, THOUGH?

YOU LIKE THE SPICE GIRLS.

-OH, YEAH, I LIKE THEM WELL,
BUT I CAN'T REMEMBER THE SONGS.

-WHAT DO YOU WANT TO DO
IN FIVE YEARS?

WHERE DO YOU WANT TO BE?
WHAT DO YOU WANT TO BE DOING?

-I WANT TO GO BACK TO SCHOOL,
ACTUALLY,

BECAUSE I QUIT SCHOOL

WHEN I WAS IN,

ACTUALLY, GRADE 8.

-IF YOU LOOKED
AT HER MEDICAL RECORDS,

IT WOULD SHOW YOU
THAT SHE WAS HUGELY TRAUMATIZED,

BEATEN ALMOST TO DEATH,
AND, YOU KNOW,

HAVING PLASTIC SURGERY
DONE TO HER HEAD

AND PLATES PUT IN AND STUFF.

SHE WAS,
YOU KNOW, SAVAGELY RAPED,

AND IT'S A WONDER
SHE NEVER DIED EARLIER.

-AREN'T YOU WORRIED ABOUT
SOME STRANGER PICKING YOU UP?

LIKE, WHAT IF THERE IS SOMEBODY
GOING AROUND

MURDERING ALL THESE GIRLS?

AREN'T YOU WORRIED
ABOUT THE NEXT TRICK YOU PULL

MIGHT BE HIM?

-YEAH, BUT I ALWAYS GO
BY MY SIXTH SENSE.

-INSTINCT.
-YEAH.

IF I DON'T LIKE THE WAY
THE GUY IS,

THEN I WON'T GO WITH HIM.

-YOU KILLED SEREENA AND MONA,
AGREED?

WELL, IT'S A SIMPLE QUESTION.

ALL RIGHT.

ALL RIGHT.

-I WON'T ADMIT TO ANYTHING YET,
BUT GO AHEAD.

-WOULD I BE RIGHT IN SAYING,
WILLY,

THAT YOU HAD REACHED THE STAGE

WHERE YOU JUST NO LONGER SORT
OF REALLY VIEWED THESE GIRLS

AS BEING WORTH ANYTHING?

-MM-HMM.

-AND YOU'D KILL...

-SHE DOESN'T WANT TO HARBOUR
ON WHAT HAPPENED

IN HER PHYSICAL BODY

BECAUSE SHE WANTS TO BE
REMEMBERED AS A SPIRIT,

BUT SHE WANTS TO SAY

THAT EVERY SORT
OF UNIMAGINABLE THING

THAT YOU CAN IMAGINE
COULD HAPPEN TO A PHYSICAL BODY,

HAPPENED TO HER,

BUT HER SPIRIT SHINES LIGHTER,

AND THAT'S WHAT SHE WANTS
TO GET OVER TO PEOPLE,

THAT NO MATTER
WHAT THE PHYSICAL GOES THROUGH,

THE SPIRIT SHINES.

SHE'S SO EMPHATIC ABOUT THAT.

SHE'S HERE.

THEY'RE ALL HERE
WHEN YOU'RE WORKING ON THEM.

[EXHALES]

I'M SORRY,
I'VE GOT TO SAY THIS.

"MIND YOUR OWN BUSINESS."

THAT'S WHAT SHE SAYS.

IT'S LIKE,
"GET OUT OF MY LIFE."

WHEN SHE'S GOT LOVE,

I'M SURE
IF SHE WAS IN LOVE,

SHE'D LOVE THIS, BUT SHE'S NOT.

SHE'S PISSED.

THE PART OF THEM
THAT DOESN'T WANT TO BE REVEALED

IS THEIR EGO,

BUT YOU KNOW
WHAT YOUR JOB IS?

THIS IS PART OF HER HEALING,
AND, AT LONG LAST,

BOTH SIDES HAVE TO BE SHOWN.

I'M GETTING BIG TINGLES
WITH THAT.

THEY HAVEN'T GOT A LOT
OF CHOICE NOW, LOVE.

ONE OF THE MANY REASONS
YOU'RE BEING ASKED TO DO THIS

IS TO FACILITATE THEIR HEALING.

OH, SOULS GO ON MANY JOURNEYS.

YOU KNOW THAT.
YOU'VE DONE THAT.

THAT'S BEEN YOUR JOURNEY.

THAT'S WHY YOU'RE STRONG ENOUGH
TO DO THIS

BECAUSE YOU'VE DONE IT
IN YOUR OWN LIFE.

-MAYBE IT WAS
THE ABUSIVE RELATIONSHIPS

THAT I USED TO ATTRACT
IN MY LIFE.

LIKE, YOU KNOW,
MY FATHER WAS REALLY ABUSIVE,

AND I DIDN'T REALLY HAVE...

I DON'T REALLY KNOW
WHAT IT'S LIKE

TO HAVE A FATHER, LIKE,
TO GROW UP WITH A FATHER,

AND SO THE ROLE OF A MALE
IN MY LIFE

HAS REALLY...

IT WAS ALMOST LIKE THIS PATTERN
I HAD CREATED,

SO I WOULD ATTRACT TO ME
THE SAME TYPE OF MAN,

AN ABUSIVE MAN,

AND I WOULD FEEL SHACKLED
AND BOUND TO THIS LOVE

BECAUSE I THOUGHT THAT WAS LOVE,
YOU KNOW?

I THOUGHT THAT I NEEDED
TO BE ABUSED TO BE LOVED.

WAKING UP
AND YOU HAVE PURPLE ARMS

BECAUSE YOU WERE BOUND TO A BED
AND BEATEN, YOU KNOW?

LIKE, THINGS
THAT I'VE REALLY EXPERIENCED

WHERE I HAD TO BE STRONG ENOUGH
TO BREAK OUT OF.

I STARTED DOING THESE PHOTOS,

THESE PHOTOS OF THE PHOTOGRAPHER
FRIEND OF MINE,

AND I WOULD TALK ABOUT ISSUES
OF BOUNDARIES,

AND I GUESS
SOME DEEP-SEATED ISSUES

ABOUT LIFE AND DEATH AND...

I'M REALLY AT THE BEGINNING
OF IT,

SO I'M SHOWING YOU
SOMETHING RIGHT NOW

THAT YOU WOULDN'T NORMALLY SEE

IN THE END RESULT.

LIKE, I WOULDN'T HAVE THIS
ON SHOW.

I REALLY WANTED TO BECOME

A LOT MORE PERSONAL
ABOUT MY WORK,

LIKE, JUST REALLY GET
WHAT'S IN HERE.

GET IT OUT.

MY OWN SHIT, YOU KNOW?

THIS WORK
IS MORE BLATANTLY SEXUAL

THAN MY OTHER WORK.

I GUESS THE RELATIONSHIP
TO THE WOMEN

COULD BE SOMETHING TO DO
WITH POWER WITHIN SOCIETY,

HOW WE USE IT AND ABUSE IT,
OURSELVES AND OTHERS.

I FIND THAT A LOT
OF MY LANDSCAPES,

MY REALLY, YOU KNOW,
THE ETHEREAL, YOU KNOW...

I TEND TO CALL THEM
INNER LANDSCAPES.

I FIND THEM TO BE
A LITTLE BIT PRETTY.

AND PEOPLE WILL COMMENT
IN A SIMILAR CAPACITY,

AND I JUST,
I THINK INSIDE OF ME,

ARTISTICALLY,

I FEEL
LIKE I WANT TO SAY MORE,

LIKE SOMETHING MORE

BENEATH THE SURFACE
OF THAT PRETTY PAINTING,

YOU KNOW, THAT THERE'S THINGS
THAT ARE UNSAID

AND HIDDEN AND EXPERIENCED
AND SECRETS.

THE LAST YEAR OF MY CAREER
HAS BEEN SO BUSY,

THAT I ACTUALLY TOOK A VACATION.

WHEN I CAME BACK,

I WENT INTO THE GALLERY
WHO I SIGNED WITH.

LIKE, I JUST WENT IN TO SAY HI,
AND THEY OFFERED ME A SHOW.

THE DIRECTOR IS ON THE WAY
TODAY, OF THE GALLERY,

TO SEE WHAT I'VE BEEN DOING.

OUR LAST CONVERSATION,

SHE SAID THAT THERE'S WORK

THAT SHE'S LIKELY NOT GOING
TO BE ABLE TO SHOW

BECAUSE IT'S TOO EXPLICIT
IN NATURE,

AND THERE'S THAT PART OF ME
THAT UNDERSTANDS, RIGHT,

"OKAY, WELL, THEY WANT TO BE
ABLE TO SELL THE WORK.

THEY WANT TO BE CONFIDENT
IN THAT."

AND THE OTHER PART OF ME
WAS JUST LIKE,

"YOU KNOW WHAT?

I'M GOING TO PAINT
WHAT THE FUCK I WANT TO PAINT."

IN THE END,
I HID A LOT OF THE IMAGES

UNDERNEATH THE PAINTINGS.

IT WAS LIKE I WAS PAINTING
THESE IMAGES OF MYSELF...

AND WHAT LIVES UNDERNEATH.

AND I JUST WONDER
WHAT'S IT ALL FOR, YOU KNOW?

WHY AM I LIKE THIS?

AND I JUST FEEL
LIKE I'M SEARCHING FOR MEANING

OR SOMETHING STUPID.

-WHEN YOU'VE GOT SOMETHING

THAT'S THAT EVIL AND THAT DARK,

YOU KNOW, YOU'RE CHOOSING
TO PAINT ABOUT IT...

YOU'RE GOING TO ATTRACT,

YOU KNOW, MORE DARKNESS.

IT'S LIKE PULLING THE PIN
OFF A HAND GRENADE, I THINK.

[LIGHT PARTY CHATTER]

-IT FEELS GOOD TO HAVE
MY SHOW UP,

BUT YOU KNOW WHAT?

IT'S FUNNY BECAUSE
ALL I'VE BEEN TALKING ABOUT

IS THE PROJECT,
THE FORGOTTEN PROJECT.

EVEN THOUGH I'M HERE IN PERSON,

I THINK THAT I'M ALWAYS, LIKE,

ALMOST OBSESSIVE
ABOUT THE PROJECT,

BECAUSE I REALLY WANT
TO FINISH IT.

YEAH.

-WASSUP?

-WASSUP!

I'M REALLY PROTECTIVE.

LIKE, IT'S GREAT FOR HIM
TO BE THERE

AT MY SHOWS AND STUFF,

BUT I WANT TO BE PROTECTIVE
ABOUT IT,

SO I JUST KIND OF TRY
TO SEPARATE THE TWO

A LITTLE BIT.

I WAS GOING THROUGH A BIT
OF A SEPARATION AND HAD A BABY.

I FIGURED THAT IT WOULD GIVE ME
MORE STABILITY

IF I WAS WORKING FOR A GALLERY.

I WORE A SUIT EVERY DAY,

AND I WAS TRYING TO SELL
OTHER PEOPLE'S ART,

AND THEN IT JUST REALLY
GOT ME...

INSPIRED, YOU KNOW,

TO SEE ALL THAT AMAZING WORK,

AND SO I WOULD GO HOME

AND, YOU KNOW, I'D BE THERE
WITH MY TWO-YEAR-OLD,

TRYING TO BE...

TRYING TO WORK PART-TIME
AND BE A MOM

AND ALL THAT KIND OF THING,

AND HE WOULD GO TO SLEEP,

AND I WOULD PAINT FEVERISHLY
UNTIL 3:00 IN THE MORNING,

JUST NUTS,

AND THAT'S WHAT GOT ME THROUGH.

-I SAW A NEWS REPORT,
I BELIEVE IT WAS 1963,

WHERE THERE WAS A CONCERN
BY THE MAYOR OF VANCOUVER,

WHO, YOU KNOW,
WAS TALKING ABOUT NATIVE WOMEN

BEING MURDERED
IN THE DOWNTOWN EASTSIDE,

AND WANTED TO CONDUCT SOME KIND
OF INVESTIGATION OF THAT.

THIS WAS 1963.

THIS ISN'T NEW.

-THE THING THAT STOOD OUT
TO ME THE MOST

WAS THE NUMBER
OF FIRST NATION WOMEN

THAT WERE ON THIS POSTER.

-IT'S A WELL-RESEARCHED
POPULATION,

AND IN DIFFERENT SAMPLES,

THE PERCENTAGE
OF ABORIGINAL WOMEN

FAR EXCEEDS THE PROPORTION

IN THE POPULATION
OF STREET-INVOLVED WOMEN,

AND THE TRUTH OF IT IS

YOU'VE GOT THE EFFECT
OF 200 YEARS OF COLONIZATION

ON ABORIGINAL PEOPLES.

-WHAT I SEE THROUGH ANALYSIS
AND ACADEMIA

STEMS FROM INTERFERENCE
OF SOME KIND.

INTERFERENCE OF GOVERNMENT,

EITHER THROUGH
RESIDENTIAL SCHOOL,

THROUGH FORCED RELOCATION,

THROUGH CHILDREN
BEING ADOPTED OUT.

-BASICALLY, WHAT MY FATHER
WAS TELLING ME

IS THAT IT WASN'T JUST
ABOUT CORPORAL PUNISHMENT

AND BEING DEPRIVED
GOOD FOOD,

BUT IT WAS AN ALL-OUT ASSAULT
ON THE CULTURE AND THE VALUES

AND THE LIFESTYLES
OF ABORIGINAL PEOPLE.

I THINK HE WAS MADE TO FEEL
ASHAMED OF WHO HE WAS.

-AND THE MESSAGE
WAS VERY, VERY CLEAR,

THAT IN ORDER TO CIVILIZE
THE SAVAGE OF THE COUNTRY,

YOU NEEDED TO BREAK APART

THE RESPECT
AND THE PLACE OF WOMEN,

AND THE MEN ACQUIRED THE SKILL
OF DEMEANING THEIR WOMEN,

OF PUTTING THEM IN A LOWER PLACE
THAN THEM,

AND ACTUALLY PHYSICALLY
AND OTHER WAYS

ABUSING THOSE WOMEN.

SO, WHEN THESE YOUNG BOYS
AND THESE YOUNG GIRLS

ARE WATCHING THIS,

WHAT DO YOU THINK
THEY RELATE TO

WHEN THEY GET INTO
A RELATIONSHIP?

IT JUST KEEPS GETTING
HANDED DOWN,

GENERATION TO GENERATION.

I THINK
IT'S SOCIETY'S ACCEPTANCE

THAT THE 500 MISSING WOMEN
FROM THE ABORIGINAL COMMUNITY

ARE NOT IMPORTANT

IN THE OVERALL GROWTH
OF THE COUNTRY.

-WELL, IN THE VERY EARLY YEARS
WHEN SHE CAME TO LIVE WITH US,

SHE WAS ALWAYS...

SHE GREW INTO
A VERY BEAUTIFUL YOUNG WOMAN,

BUT SHE WAS EXTREMELY CUTE
AS A LITTLE GIRL,

AND VERY OUTGOING
AND VERY CREATIVE.

SHE LOVED TO DRAW.

SHE LOVED TO ACT, TO PERFORM,

TO DO ANYTHING
THAT INVOLVED IMAGINATION.

-I LOOKED AT SARAH AS
A VERY INTELLIGENT YOUNG LADY,

AND SHE WAS.

INTELLIGENT,
BRIGHT, WITTY.

KNEW WHAT SHE WANTED.

WAS WORKING.

KNEW SHE WAS WORKING.
KNEW WHAT SHE WAS SELLING...

AND SHE SOLD IT TO ME.

THE MORE I GOT TO KNOW HER,
THE MORE I GOT TO LOVE HER,

AND I WISH THIS WOULD HAVE
STARTED OUT DIFFERENT.

I WISH I COULD HAVE MET HER
UNDER DIFFERENT CIRCUMSTANCES.

-THIS IS HEROIN RIGHT HERE.

I CAN DO THAT IN ONE FIX,
AND IT BARELY EVEN BOTHERS ME.

I'M PRETTY MUCH NUMB TO IT,
I GUESS,

BECAUSE I DON'T GET HIGH OFF IT
ANYMORE.

IT JUST MAKES ME NORMAL.

IT JUST MAKES ME ABLE
TO FUNCTION.

I FEEL GOOD, BUT I'M NOT
PARTICULARLY TOTALLY HAPPY...

BECAUSE IT'S LIKE CARRYING

A BIG BALL AND CHAIN
AROUND WITH YOU

FOR A PART OF YOUR LIFE.

I WENT TO JAIL FOR A WHILE,
GO FOR SIX MONTHS,

AND THEY MADE ME QUIT
COLD TURKEY,

AND IT WAS...

I WOULD RATHER HAVE BEEN DEAD.

IT HURTS
WHEN YOU DON'T HAVE IT.

IT PHYSICALLY HURTS.

-YOUNG GIRLS IN PARTICULAR
WHO ENDED UP ON THE STREET

INVARIABLY,
THROUGH MY INTERVIEWS WITH THEM,

I FOUND THAT OVER 80% OF THEM
HAD BEEN SEXUALLY ABUSED,

AND A LOT OF THEM CAME
FROM GROUP HOMES

AND THINGS LIKE THAT.

THEY PREFER THE STREET
OVER THEIR OWN HOME.

IF YOU LOOK
AT THE "BAD DATE" LIST,

THERE'S DOZENS...

THERE'S SCORES OF TWISTED,
PERVERTED, VIOLENT MEN OUT THERE

PREYING ON THESE WOMEN.

IF THEY'RE NOT KILLING THEM,
THEY'RE KILLING THEIR SOUL,

AND THEN THE DRUGS WERE A WAY
OF COPING WITH THAT ABUSE

AND COPING WITH THE LIFESTYLE

THAT THEY'D FOUND THEMSELVES
INTO

TO SUSTAIN THEIR HABIT.

I MEAN, THE BIGGEST PIMP

OF ALL THE LOW-CLASS
WORKING GIRL DOWN THERE,

THE LOW-CLASS STROLL,

ARE DRUGS.

-IT'S HARD TO PROCESS,

AND SO YOU START TO USE DRUGS
TO COPE.

THE AMAZING THING
ABOUT CRACK COCAINE

IS THAT IT WILL WIPE YOUR MEMORY
RIGHT NOW.

IT TOTALLY NUMBS YOU

AND STOPS
THAT ANXIETY, THE PANIC,

THE FEELINGS THAT COME

WITH THAT KIND OF POST-TRAUMATIC
STRESS BEING TRIGGERED.

-I CAN RELATE
TO THE MISSING WOMEN

BECAUSE OF THE ADDICTION.

A LOT OF PEOPLE WILL JUST LOOK
AT ADDICTION

AS SOME KIND OF,
A PROBLEM OF WILLPOWER.

"WELL, JUST STOP!"

IT'S NOT THAT EASY.

I'M THE GUY WHO'S WEARING
THE SUIT AND TIE TO COURT,

BUT AS 2007 STARTED
AND THE PICKTON CASE STARTED,

MY ADDICTION WAS DEEPENING.

I WAS DOING HUNDREDS OF DOLLARS
WORTH OF CRACK COCAINE A DAY,

AT TIMES HEROIN AS WELL.

THERE WERE TIMES

WHEN I WAS
SO OBSESSIVE-COMPULSIVE

ABOUT MY CRACK COCAINE USE,

THAT I WAS LEAVING
THIS COURTHOUSE BEHIND US,

GOING DOWN TO THE DOCKS
AND SMOKING CRACK,

AND THEN COMING BACK
AND COVERING THE COURT.

TO LEAVE THE COURTROOM,
GO AND FILE MY STORY,

AND THEN GO AND GET HIGH.

I'M OUT
DOING HEAVY ILLICIT DRUGS,

AND I'M SURROUNDED BY SHERIFFS,
POLICE, LAWYERS,

AND A SUPREME COURT JUDGE,

AND A SERIAL KILLER SITTING
RIGHT IN FRONT OF ME.

A LOT OF TIMES,
IT GOT TO THE POINT

WHERE IT JUST WASN'T COMPUTING
IN MY HEAD ANYMORE.

IT WAS JUST SO CONFUSING.

ONCE YOU START USING,

YOU WILL OBSESSIVELY THINK
ABOUT IT,

AND YOU WILL ACT COMPULSIVELY.

YOU WILL VOID ALL VALUABLE
RELATIONSHIPS IN YOUR LIFE.

YOU WILL NOT GIVE A DAMN
ABOUT ANYTHING.

ALL YOU WANT IS THAT DRUG.

SO, IF A BEAT-UP OLD TRUCK

WITH SOME FILTHY MAN
STINKING OF PIG SHIT

COMES UP AND OFFERS
A HANDFUL OF CRACK COCAINE,

YOU'RE GOING TO DO
WHATEVER IT TAKES

TO GET WHAT'S IN HIS HAND.

-I DON'T REALLY CONSIDER MYSELF
A PORTRAIT ARTIST.

I CAN LOOK AT ONE FACE

AND LOOK AT EVERYTHING
THAT'S WRONG WITH IT

ON A, LIKE, A TECHNICAL LEVEL,

AND IT'S ALWAYS A QUESTION
FOR ME.

AM I REALLY SAYING
WHAT I WANT TO SAY?

-SOME PEOPLE HAVE BOUGHT
SOME STRANGER THINGS THAN THIS.

-I'M KIND OF MAKING MY WORK
A BIT MORE CONTEMPORARY IN FEEL,

YOU KNOW, AND CHANGING IT UP
A BIT,

CHALLENGING THE VIEWER...

TALKING ABOUT NOT BEING ABLE
TO SPEAK,

YOU KNOW,
IF YOUR MOUTH IS STAPLED.

I GUESS IT'S A PRETTY HARSH WAY
OF SAYING IT,

BUT IN A WAY IT'S NOT SOMETHING

THAT SOMEONE
WOULD RECOGNIZE EASILY,

AND WHEN THEY DISCOVER
WHAT IT IS IN THE PAINTING,

I THINK THE REACTION IS STRONGER
THAN WITHOUT IT.

A LOT OF TIMES AS A YOUNGSTER,
AS A TEENAGER GROWING UP,

I REMEMBER FEELING THIS
IN SO MANY WAYS,

THAT SEXUALITY
AND A WOMAN'S WORTH

WAS REALLY DEPENDENT
ON THE OUTER APPEARANCE,

AND I THINK IN MEDIA
AND OUR CULTURE, POP CULTURE,

WE REALLY HAVE A DISPLACEMENT
OF THOSE VALUES.

YOU KNOW?

THIS IS HOW SHE MADE A LIVING.

THE FACT THAT I'M PREPARING
TWO CANVASES,

ONE THAT HAS PORNOGRAPHIC IMAGES

BESIDE THIS RELIGIOUS-FEELING,

RIGHT AND WRONG KIND OF THING,

YEAH, IT MAKES ME QUESTION
A LOT OF THINGS ABOUT, WELL,

EVEN SOCIETY, RIGHT?

LIKE, THIS IS RIGHT.

IT HAS TO BE RIGHT
BECAUSE WE VALIDATE IT.

AND SO WHAT I'M DOING

IS I'M KIND OF MAKING
THIS WHITE VEIL

BENEATH THOSE IMAGES

AND THE FACE
THAT I'LL PAINT.

I'M TRYING TO TELL
THE VIEWER SOMETHING.

-WITH PAMELA'S PAINTINGS,

THE WAY I FOUND OUT ABOUT THEM
WAS REALLY UNFORTUNATE.

I WAS CALLED BY 16:9,

AND THEY TOLD ME
ABOUT THE PAINTINGS,

WHICH I HAD NEVER HEARD
ABOUT BEFORE,

AND THEY WANTED ME
TO GO AND SEE THEM,

AND THEY WANTED TO FILM ME
SEEING THEM FOR THE FIRST TIME,

AND I JUST THOUGHT
THAT WAS DISGUSTING,

AND I HAD NO INTEREST
IN DOING THAT,

AND THAT GAVE ME THE FEELING

THAT THIS WASN'T
ABOUT THE WOMEN,

THAT THESE PAINTINGS WERE...

IT MADE ME MISTRUST THE ARTIST
AS WELL,

BECAUSE HOW DID THAT HAPPEN?

-THEY WERE 69 INNOCENT WOMEN
WHO WENT MISSING,

MANY OF THEM VICTIMS
OF SERIAL KILLER ROBERT PICKTON.

SOME WERE SHUNNED BY SOCIETY,

OTHERS SIMPLY IGNORED
BY THEIR FAMILIES,

AND EVEN IN DEATH,
THEY WERE FORGOTTEN...

UNTIL NOW.

[SOBS]

-OH, DEAR.

I DON'T WANT TO MAKE YOU CRY.

I'M SORRY.

-THEY ARE TEARS
TO REMEMBER THE FORGOTTEN.

-THE IDEA OF THEIR MUG SHOTS,
IN MANY CASES,

OF HAVING THEM BE REMEMBERED
IN AN EXHIBIT

CALLED "THE FORGOTTEN"

AS HUGE,
ONE-DIMENSIONAL VICTIMS,

MADE US SICK.

-YOU CAN'T HELP BUT HAVE
PERSONAL THOUGHTS AND FEELINGS

TRIGGER STUFF IN YOU,
AND WE REACT.

AND OF COURSE,
I'M GOING TO BECOME DEFENSIVE

AND I'M GOING TO, YOU KNOW,
"HOW DARE YOU DO THAT?"

YOU KNOW, "I'M ANGRY, MAD,
UPSET, PISSED OFF."

YOU KNOW,
MORE HURT THAN ANYTHING,

BECAUSE I SEE THAT,
AND THAT'S A REMINDER

OF WHAT THE WOMEN
HAD GONE THROUGH.

THAT'S A REMINDER
WHAT HAD HAPPENED TO ME.

THAT'S A REMINDER ABOUT WHAT
STILL CONTINUES TO GO ON.

-YEAH, I'M PRETTY ATTACHED.

[LAUGHS]

I DON'T WANT TO BE, BUT...

YOU KNOW WHEN YOU WANT
SOMETHING SO BAD,

AND YOU THINK THAT,

"OKAY, WELL,
WHAT WILL BE WILL BE,"

BUT I DON'T KNOW,

IT WOULD JUST BE SO GREAT

TO BE ABLE TO SHOW
WHAT I'VE BEEN WORKING ON,

YOU KNOW,
AT THE VANCOUVER ART GALLERY.

THIS IS A MOMENT
I HAVE NO CONTROL OVER NOW.

LIKE, I'VE ALREADY PAINTED
HOW MANY, YOU KNOW,

AND THEY'RE COMING IN...
BY THE TIME THEY COME IN,

THERE'S GOING TO BE
ALMOST 50.

I'M JUST GOING TO SHOW MY WORK

AND TALK ABOUT
WHAT IT MEANS TO ME

AND, UH...

TELL HER HOW MUCH I THINK
IT BELONGS AT THE VAG.

IT'S EXHAUSTING EMOTIONALLY.

LIKE, IT'S BEEN AFFECTING
MY STOMACH

AND I JUST, WHEN I START,

SOMETIMES, I'LL PASS OUT
IN THE STUDIO,

AND IT'S NOT
THE LACK OF WATER.

I THINK IT'S JUST
THE EMOTIONAL BURDEN SOMETIMES,

THAT I JUST GO THROUGH THIS.

LIKE, I'LL SEE VISIONS OF,
YOU KNOW, THE TRAUMA AND STUFF,

AND I JUST...

JUST START CRYING,
LIKE, IT'S SO...

SORRY.

SHE CAME IN HERE
AND BASICALLY SAID, YOU KNOW,

"WE'RE BOOKED UP
UNTIL 2/13,

"SO EVEN THE TALK OF THIS IS,
YOU KNOW,

"PROBABLY TOO LATE FOR YOU,

BUT LET ME SEND
THE CURATORS BY."

I DIDN'T GET A SENSE

THAT SHE REALLY UNDERSTOOD
THE SCOPE OF IT,

AND SHE BASICALLY SAID,

"WELL, YOU KNOW, I CAN SEE US
SHOWING ONE OF THESE,"

AND AS SOON AS SHE SAID THAT,
I KNEW,

"YOU DON'T GET IT.

"YOU'RE NOT GOING TO GET THIS

"UNTIL IT'S 20 YEARS
DOWN THE ROAD,

"AND YOU GO, 'OH, MY GOD.

"'WE TOTALLY LOST SIGHT OF THAT,

"'THE CULTURAL AND
THE HISTORICAL SIGNIFICANCE

OF THAT BODY OF WORK.'"

AND I TRULY BELIEVE THAT.

SO, THE GALLERY DIDN'T WORK OUT,

BUT, YOU KNOW, A FEW DAYS LATER,

LITERALLY A FEW DAYS LATER,

I WAS CONNECTED
WITH THE DIRECTOR

OF THE MUSEUM OF ANTHROPOLOGY.

THEY CAME IN AND, YOU KNOW,

IT WAS JUST
A DIFFERENT EXPERIENCE,

YOU KNOW, WHEN SOMEONE
COMES IN

AND YOU'RE SHOWING THE WORK,

AND AFTER YOU SHOW ABOUT 20,
30 PAINTINGS,

YOU CAN SEE THAT THEY'RE
ACTUALLY...

HAVE BECOME DISTURBED.

THEY'VE BEEN AFFECTED
EMOTIONALLY,

AND THEY SAY,
"STOP. WE WANT TO HAVE A SHOW."

-I THINK IT'S ONE THING
TO BE AWARE OF SOMETHING

AND SOMETHING QUITE DIFFERENT

TO ACTUALLY FEEL EMOTIONALLY
ENGAGED WITH IT, CERTAINLY,

AND THAT'S WHAT PAMELA'S WORKS
DID FOR ME.

SUDDENLY FROM STATISTICS
AND NEWS STORIES,

THERE WAS A REALITY THAT EMERGED
FROM THE CANVASES,

AND THIS IS WHAT HIT ME.

OUR CHALLENGE IS TO GET OUT
TO THE PUBLIC

THAT WE ARE MORE THAN JUST
A NORTHWEST COAST ART MUSEUM.

WE'RE A FORUM,

AND, YOU KNOW,

WE'RE VANCOUVER'S INSTITUTION,

WHICH ISN'T AFRAID TO EXPLORE
SOME AREAS

THAT OTHER INSTITUTIONS

MIGHT BE A LITTLE BIT
MORE RELUCTANT TO EXPLORE

BECAUSE OF THE CONTROVERSY
AROUND THEM.

-I EXTENDED AN INVITATION
TO FRIENDS AND FAMILY

BECAUSE I HAVEN'T CONNECTED
WITH THEM OVER THE YEARS SO MUCH

BECAUSE I HAD TO FOCUS
ON MY WORK

AND THE TRUTH OF THE PROJECT,

THAT JUST TO SAY,
"OKAY, YOU KNOW WHAT?

"MY DOOR'S OPEN TO YOU.

"I WOULD LOVE TO TALK TO YOU
ABOUT THE PROJECT.

I WOULD LOVE TO SHOW YOU
THE PAINTINGS."

I'M NOT TRYING TO OPEN UP
ANY WOUNDS WITH THE PROJECT,

BUT I THINK THAT A LOT OF THE,

OR SOME OF THE FAMILIES

WILL FEEL THAT CONNECTION AGAIN

WHEN THEY SEE THE PAINTINGS,

AND SO IT'S KIND OF...

JUST...

I JUST WANT TO BE REALLY GENTLE,
YOU KNOW?

-TWO WEEKS FROM RIGHT NOW,

THERE WILL BE ABOUT
THREE BILLION PEOPLE

TUNED IN RIGHT HERE,
RIGHT AROUND US IN VANCOUVER,

TUNED IN TO WHAT OUR CITY
REPRESENTS,

TUNED IN TO THE ATHLETES,

WHO ARE VERY, VERY IMPORTANT,

AND SHOULD BE THE CENTRE
OF ATTENTION,

AND THAT'S GREAT.
WE LOVE IT.

WE NEED TO ALSO BALANCE THAT

WITH WHAT ART AND CREATIVITY
REPRESENTS,

AND I WANT TO RECOGNIZE
PAMELA

FOR AN UNBELIEVABLE...

GIFT TO ALL OF US,

TO ALL OF THESE WOMEN
AND THEIR FAMILIES.

SHE'S DONE
AN EXTRAORDINARY THING.

[APPLAUSE]

-SO, IN FEBRUARY OF 2011,

WE'RE GOING TO BE SHOWING
PAMELA'S "THE FORGOTTEN,"

AND I THINK
THAT WILL REALLY MARK

A NEW JUNCTURE IN THE HISTORY
OF THE MUSEUM,

AND A LEVEL OF SOCIAL COMMITMENT

THAT I HOPE WE'LL BE ABLE
TO PRESERVE OVER THE FUTURE.

[PUMPING CLUB MUSIC]

HELLO.

IT'S A PLEASURE TO MEET YOU.

-PLEASURE TO MEET YOU, TOO.

-PAMELA'S PREVIEW
WAS INTERESTING

IN THAT IT BROUGHT OUT
SORT OF TWO SETS OF PEOPLE.

IT BROUGHT OUT, YOU KNOW,

I GUESS WHAT YOU'D CALL
THE GLITTERATI,

AND THERE ARE THE OTHER PEOPLE.

-THERE WERE PEOPLE THERE

THAT HAD ZERO INTEREST
IN THOSE FORGOTTEN WOMEN,

ABSOLUTELY ZERO.

THE REASON WHY WE WERE THERE,

THE SOLE REASON,

WAS PRECISELY FOR THESE WOMEN,

AND AS I RECALL,

I BELIEVE PAMELA WAS TRYING
TO STATE THAT THAT NIGHT,

AND I'M NOT SURE
IF EVERYBODY GOT IT.

SHE EVEN HAD THIS ONE LADY
COME UP

WHO TALKED ABOUT THE SITUATION

BECAUSE SHE WAS CONNECTED
TO ONE OF THE LADIES

THAT HAD BEEN MURDERED.

-I JUST KNOW A LOT OF THEM
FROM DRINKING

AND WORKING THE STREETS
WITH THEM.

SHE SHOULD'VE HAD
A LITTLE SCAR.

I DON'T KNOW IF YOU CAN SEE IT
IN THE PICTURE,

BUT SHE HAD, LIKE, A LITTLE SCAR
ON HER LIP.

BUT THAT'S NOT IMPORTANT.

WE USED TO HAVE A TARP,
TIE IT ON HERE,

HOOK IT UP,
HAVE A COUPLE OF BLANKETS,

AND SLEEP HERE

UNTIL THE GUY IN THERE
USED TO CHASE US AWAY,

BUT SOMETIMES HE DIDN'T.

FOR TWO YOUNG GIRLS,
IT'S DANGEROUS.

MY MOM WOULD BRING HOME GUYS
THAT WILL SEXUALLY ABUSE ME.

ONE TIME I HOLLERED TO HER,
AND SHE STOOD IN THE DOOR,

AND I STILL CAN HEAR HER SAY,

"BE A BIG GIRL.
BE A BIG GIRL."

-TONIGHT IS THE SHOW
FOR THE WOMEN OF THE SHELTER.

WE HAVE A SHOW HERE
ON MAIN STREET

OUTSIDE
OF THE DOWNTOWN EASTSIDE.

WHAT I WANTED TO DO
WAS INTEGRATE

THE WOMEN OUTSIDE OF THE CORE
OF THE DOWNTOWN EASTSIDE

INTO ANOTHER AREA OF THE CITY

AND GET THEM TO, YOU KNOW,
FEEL A SENSE OF ACCOMPLISHMENT

BY HAVING THEIR OWN SHOW,

HAVING THEIR WORK
UP ON THE WALL,

AND LETTING THEM SHINE.

-I WANT TO SHOW PEOPLE
WHAT I CAN DO

WITHOUT DOING DRUGS AND ALCOHOL.

THIS IS SOLD?

HOLY...

MOLY!

[LAUGHS]

WOW!

I AM IN SHOCK!

-YAY!

WHOO!

-DAMN!

-DON'T WORRY.
IT'S NOT A SWEAR.

"SHIT" IS.

[BOTH LAUGH]

[DRUMMING,
WOMEN SINGING ABORIGINAL SONGS]

-WHEN THE FIRST FEBRUARY 14th
WOMEN'S MEMORIAL MARCH BEGAN,

THERE WERE ABOUT 28 WOMEN
THAT WALKED IN THAT MARCH,

AND LAST YEAR THERE WERE 4,000
TO 5,000 PEOPLE.

FEBRUARY 14th UNIVERSALLY
IS A DAY

OF SHOWING LOVE, CARING,
COMPASSION,

AND WE WANTED TO HAVE
FEBRUARY 14th AS THE DAY

TO EXPRESS OUR LOVE
FROM THE COMMUNITY

FOR THE MURDERED
AND MISSING WOMEN.

WHEN WE FOUND OUT
THAT PAMELA MASIK'S DISPLAY

WAS GOING TO BE SHOWN
AT THE MUSEUM OF ANTHROPOLOGY,

IT WAS REALLY SURPRISING

THAT THE MUSEUM...

FIRST,
IT'S ON FIRST NATIONS LAND...

WOULD ALLOW SOMETHING
LIKE THAT TO BE DISPLAYED,

THAT HORRIFIC.

-WE HAD ALWAYS TAKEN GREAT CARE

TO HONOUR THE MEMORIES OF WOMEN
THAT WE KNEW

AND THAT HAVE GONE MISSING

FROM THE DOWNTOWN
EASTSIDE COMMUNITY

AND WOMEN
THAT HAD BEEN MURDERED,

VERY CAREFUL ATTENTION TO THAT,

TO THE PROTOCOL AND CARE,

AND IT WAS VERY CLEAR
THAT THIS ARTIST

THAT, YOU KNOW, HAD NOT TAKEN
THAT CARE.

-OUR ISSUES WERE VERY POINTED

AT THE WHOLE RACIAL DISCUSSION
WITHIN,

WITH WHAT THE ARTWORK
WAS PURPORTING TO REPRESENT.

WAS MASIK, AS AN ARTIST,
THE RIGHT PERSON

TO ADDRESS ABORIGINAL WOMEN
ISSUES?

THAT WAS MY QUESTION.

DID MOA PROVIDE
THE CORRECT CONSULTATION PROCESS

FOR THOSE ABORIGINAL FAMILIES
WITHIN THE PAINTINGS?

-ANTHONY BECAME...
I SAID THAT, YOU KNOW,

THERE'S LIKELY
THAT IF THE EXHIBIT WENT AHEAD,

THAT THERE WOULD BE
A PROTEST,

A PRETTY STRONG PROTEST,

AND HE WAS REALLY EXCITED
ABOUT THAT.

HE THOUGHT THAT WOULD HEIGHTEN
THE INTEREST

IN THE WHOLE EXHIBIT.

-THE FUNCTION OF A MUSEUM

IS NOT JUST TO SHOW
BEAUTIFUL THINGS.

THE TASK OF A MUSEUM, I THINK,
IS TO ENCOURAGE DEBATE

AND TO BRING THE ARTS
AND CULTURE TOGETHER,

AND, CERTAINLY, THAT IDEA
OF THE MUSEUM AS A FORUM

IS WHERE WE'RE TRYING
TO DRIVE MOA.

PAMELA HAS KIND OF ALLOWED US,

SHE'S GIVEN US A STARTING POINT

WHERE WE CAN LOOK
AT THESE ISSUES WORLDWIDE,

AND WE CAN SEE JUST
WHAT AN IMPORTANT PROBLEM IT IS

AND WHY WE NEED TO ACT
AND TAKE IT SERIOUSLY,

NOT JUST IN VANCOUVER,
NOT JUST IN CANADA,

BUT WORLDWIDE.

THIS IS SOMETHING
THAT SHOULDN'T EXIST

IN THE BEGINNING
OF THE 21st CENTURY.

IT'S A CRIME, OR CRIMES,
AGAINST HUMANITY,

AND IT'S BEING PERPETRATED
ON SUCH A LARGE SCALE,

IN SO MANY DIFFERENT PLACES,

THAT IT'S GOT TO BE TAKEN
SERIOUSLY,

AND IT'S GOT TO BE ENGAGED WITH,

AND IT'S GOT TO END.

-IF WE LOOK AT THE ORIGIN
OF PROSTITUTION IN LAW,

THE LAWS THAT WERE WRITTEN
AT THE TURN OF THE CENTURY

WERE THOSE THAT PREVAILED
UP UNTIL ABOUT 1972.

IT BECAME WHAT WAS CALLED
"THE SOLICITING LAW."

BASICALLY, WHAT IT SAID

WAS THAT YOU CAN'T SOLICIT
IN A PUBLIC PLACE

FOR THE PURPOSE
OF PROSTITUTION.

-YOU KNOW,
THE TRADITIONAL PICTURE YOU SEE

OF THE SEX WORKER, LEANING IN
THE WINDOW OF THE CAR,

NEGOTIATING HER TERMS
OF EMPLOYMENT, IF YOU WILL...

IN THAT TIME, SHE'S DOING
AN ENVIRONMENTAL SCAN

TO SEE IF THE GUY'S GOT A GUN,
YOU KNOW...

IS HE SOBER?
IS HE LIVING IN HIS CAR?

YOU KNOW, SHE'S ASSESSING
THE DANGER LEVEL.

UNDER THIS LAW,
THAT'S ILLEGAL,

SO YOU HAVE TO GET IN THE CAR
AND CLOSE THE DOOR

IN ORDER TO HAVE
A PRIVATE CONVERSATION.

-PROSTITUTION THEN MOVED
AROUND THE CITY.

IT WAS DISPLACED DELIBERATELY
AND ACCIDENTALLY

AS A RESULT OF A SERIES

OF DIFFERENT LAW
ENFORCEMENT INITIATIVES.

-WHERE WE GO,
IT'S COLD OVER THERE.

I MEAN,
IT'S AN INDUSTRIAL SPRAWL.

IT'S DARK.
THERE'S NO TRAFFIC.

YOU'RE FREEZING.

-AND IT'S IN THOSE CIRCUMSTANCES

WHEN WOMEN ARE ISOLATED
ON A CORNER,

THAT THEY CAN BE PICKED UP,
UNSEEN.

ALL ONE HAS TO DO

IS LOOK AT THE PATTERNS
OF SERIAL KILLING

OF WOMEN INVOLVED IN SEX WORK.

IT'S ALMOST ALWAYS

STREET PROSTITUTES
WHO ARE SELECTED.

I MEAN, YOU CAN GO
TO THE GREEN RIVER KILLER,

THE YORKSHIRE RIPPER.

ANY NUMBER OF OTHER KILLERS

OF PEOPLE
INVOLVED IN PROSTITUTION

CHOOSE STREET PROSTITUTES.

-TO THE FAMILIES
OF THE MISSING WOMEN,

I WOULD SAY TO YOU THAT I WISH
FROM THE BOTTOM OF MY HEART

THAT WE WOULD HAVE CAUGHT HIM
SOONER.

I WISH THAT THE SEVERAL AGENCIES
INVOLVED,

THAT WE COULD HAVE DONE BETTER
IN SO MANY WAYS.

I WISH THAT ALL THE MISTAKES
THAT WERE MADE

WE COULD UNDO,

AND I WISH THAT MORE LIVES
WOULD HAVE BEEN SAVED.

-SO, THIS IS THE AUDAIN GALLERY.

IT'S OUR NEW, TEMPORARY
EXHIBITION SPACE.

IT MEASURES
ABOUT 6,000 SQUARE FEET,

AND WE'RE GOING TO NEED
EVERY SQUARE FOOT OF THAT

FOR THE MASIK EXHIBITION.

UNIVERSITIES
ARE OPEN INSTITUTIONS.

THEY'RE INSTITUTIONS
OF DIALOGUE.

THEY'RE INSTITUTIONS
THAT ARE CRUCIAL FOR LIFE

IN ANY DEMOCRATIC SOCIETY.

WE HAVE AN OBLIGATION,
AN ETHICAL OBLIGATION,

TO MOUNT SHOWS LIKE THIS.

-THE OVERALL FEEL
THAT I WOULD LIKE TO ACHIEVE

IS TO HAVE THE VIEWER FEEL
LIKE THEY'RE ON EXHIBITION,

AND THAT'S WHY THEY'RE SO LARGE
AND DEMANDING, IN A WAY.

THERE'S THAT QUESTION OF
WHO'S LOOKING AT WHO,

KIND OF THING.

-WE THOUGHT THAT THE IMPACT
OF THE EXHIBITION

IS GOING TO BE EXTREMELY STRONG.

IN FACT, WHAT WE'VE BEEN TRYING
TO DO

IS COME UP WITH SOME SCHEMES,

AND IN ORDER NOT TO MAKE IT
SO SPECTACULAR,

BUT TO TONE IT DOWN SOMEWHAT,
AS A PART OF THIS,

WE'VE BEEN LOOKING AT CREATING
A SECOND ROOM, A SECOND GALLERY,

WHICH WILL BE ALMOST LIKE
A DECOMPRESSION ROOM.

-I THINK IT'S A GREAT IDEA.

-BECAUSE THE MUSEUM SHOW
IS IN PLACE,

BECAUSE THERE'S A SENSE OF HOPE

THAT THE SHOW AND THE WORK

IS GOING TO BE TAKEN
QUITE SERIOUSLY, YOU KNOW,

I'M PRETTY HAPPY ABOUT THAT.

SO, I'M IN A GOOD HEAD SPACE
RIGHT NOW,

BUT, YOU KNOW, IT'S BEEN A RIDE.

IT'S BEEN A JOURNEY.

IT'S BEEN...

CHALLENGING,
YOU KNOW?

♪ CKNW ♪

♪ NEWS TALK 980 ♪

♪ VANCOUVER ♪

-AN EXHIBITION OF PORTRAITS
OF MISSING AND MURDERED WOMEN

HAS BEEN CANCELLED
BY THE MUSEUM OF ANTHROPOLOGY.

THEY APPARENTLY ARE CONCERNED

THAT THE WORKS WILL BE
DISTRESSING TO THE PUBLIC.

-IN THIS CASE,
YOU HAVE A MUSEUM

THAT WAS REBRANDING ITSELF

AS AN INSTITUTION
WITH A SOCIAL CONSCIENCE

THAT WAS GOING TO PUT ON
CONTROVERSIAL SHOWS,

THAT HAD REALLY IMPORTANT THINGS
TO SAY TO THE PUBLIC

ABOUT ISSUES THAT WERE
VERY IMPORTANT TO OUR SOCIETY,

AND WHEN THEY CENSOR AN EXHIBIT
LIKE THAT,

IT BECOMES
WORSE THAN CENSORSHIP.

IT'S CENSORSHIP WITH HYPOCRISY.

-THERE WAS NO CENSORSHIP
WHATSOEVER.

CENSORSHIP, IT WAS NEVER EVEN
REMOTELY CONSIDERED.

-JUST TO GO THROUGH
ALL THAT BULLSHIT.

IT'S CRAZY BECAUSE
IT HASN'T EVEN BEEN SEEN,

YOU KNOW, LIKE, IN PERSON.

-MARLENE GEORGE IS COORDINATOR
WITH THE MEMORIAL MARCH.

-PAMELA MASIK'S DISPLAY
OF THE 69 PORTRAITS,

THEY'RE NOT VERY FLATTERING
PICTURES.

SHE HAD FURTHER DEFACED
THE PORTRAITS

TO MAKE IT EVEN MORE GROTESQUE.

-SHE'S A FAIRLY RICH,
MIDDLE-CLASS WHITE WOMAN,

PAINTING PICTURES OF SOME
OF THE POOREST OF OUR SOCIETY.

IF SHE'D JUST TAKEN THE TIME
TO GO TO THE FAMILIES

AND SAY, "IS THIS OKAY?"

SHE WOULDN'T HAVE THIS PROBLEM.

-I THINK THAT PAMELA'S MESSAGE
IS NOT TO FORGET THESE WOMEN.

A LOT OF PEOPLE
JUST DON'T WANT TO SEE IT.

THEY THINK
IT'S GOING TO GO AWAY.

THAT'S GOING TO MAKE IT
GO AWAY,

BUT I THINK IT'S SOMETHING
THAT EVERYBODY SHOULD SEE.

-ANTHONY SHELTON WAS TALKING
ABOUT HOW IMPORTANT THIS WAS

TO GET OUT THERE.

THE MAYOR HERE,
MAYOR GREGOR ROBERTSON,

WAS TALKING ABOUT HOW IMPORTANT
IT WAS

NOT TO COVER THIS UP, YOU KNOW?

NOBODY WANTS TO SEE THIS
BRUSHED UNDER THE CARPET,

AND THAT'S EXACTLY
WHAT THEY'VE DONE.

ALL I GOT FROM ANTHONY
WAS ACADEMIC GOBBLEDYGOOK.

-WE'D BEEN TRYING TO CREATE
THIS CONSENSUS

AND PUT THIS CONGLOMERATE
OF DIFFERENT INTERESTS TOGETHER,

AND WHEREAS SOMETIMES
IT HAD COME,

IT STARTED TO LOOK
AS IF IT WAS TAKING PLACE,

IT THEN DISSOLVED AGAIN,

AND REALLY, WE WERE UNABLE
TO CREATE

THIS BROAD, UM...

THIS BROAD ARRANGEMENT
OF DIFFERENT ORGANIZATIONS

WITH CONSENSUS
THAT WE WOULD USE IT TO DO

ALL THESE DIFFERENT KINDS
OF EVENTS AROUND THE EXHIBITION.

-IT SADDENS ME
THAT IT WAS CANCELLED,

BUT FROM THE BEGINNING,
WITH THE INTENTION I HAD,

I TRULY REALLY WANTED TO SPEAK
FOR PEOPLE WHO COULDN'T SPEAK.

LIKE I SAID BEFORE,

THIS ISN'T MEANT TO BE
A MEMORIAL COLLECTION.

IT'S MEANT TO CONFRONT
THE ISSUES

THAT I'M TALKING ABOUT,

AND I SAW MY ART AS A WAY
TO REACH PEOPLE

THAT MIGHT NOT NECESSARILY
HAVE LOOKED AT THE ISSUES

THAT WERE IGNORED
FOR SO MANY YEARS.

[TAKES SHAKY BREATH]

MY VISION FOR THAT PROJECT

AND WHERE...

WHERE IT NEEDS TO GO
AND WHAT I FEEL...

IT'S NOT NECESSARILY
ABOUT HAVING A MUSEUM SHOW

ON MY RESUME OR, YOU KNOW...

IT'S ABSOLUTELY NOT THAT
AT ALL.

THAT'S NOT WHY I DID IT,
AND REMEMBERING THAT.

-IT JUST BECAME MORE AND MORE
SHOCKING FOR US,

AND WE WERE UNABLE

TO LET THAT KIND
OF EXPLOITATION HAPPEN.

-WE WERE AWARE OF THOSE ATTACKS
ON PAMELA

AND THE REASON FOR DOING THIS
PARTICULAR BODY OF WORKS.

THEY WERE NOT PRESENTED
IN A FORMAL WAY

BY ANY OF THOSE GROUPS
TO THE MUSEUM.

-I WROTE A FORMAL LETTER
TO ANTHONY SHELTON

TELLING THEM ABOUT THE CONCERNS
THAT THE MEMORIAL MARCH HAD

ABOUT THIS EXHIBIT.

-I HAVE IT RIGHT HERE.

"IT WAS VERY OFFENSIVE
TO MANY OF THESE FAMILIES

"THAT THE IMAGE OF THEIR BELOVED
DAUGHTERS, MOTHERS,

"SISTERS, AND AUNTIES HAS BEEN
STOLEN AND USED

"BY THIS AMBITIOUS ARTIST

"TO FURTHER HER OWN CAREER.

"SHE CASTS HERSELF AS A HEROINE
TO THIS COMMUNITY

"AND TO THESE WOMEN.

"IN FACT,
SHE'S PAINTED THESE IMAGES

"LARGELY WITHOUT THE CONSENT
OF THEIR FAMILIES

"AND SHOWN THEM
LITTLE TANGIBLE RESPECT.

"MS. MASIK'S WORK
VIOLATES THESE WOMEN.

"HER IMAGES SHOW THE WOMEN
WITH FACES SLASHED,

"STITCHED TOGETHER,

"AND OVERLAID WITH LANGUAGE
AND IMAGERY

"THAT IS VERY DISTURBING
TO THE PEOPLE

WHOSE VOICES
SHE CLAIMS TO REPRESENT."

THE MEDIA HAS BEEN USING
THOSE IMAGES FOR YEARS.

I'VE USED THEM OVER AND OVER
AND OVER AGAIN

WITH CONTENT ASSOCIATED

MUCH MORE DISTURBING
THAN PAMELA'S SHOW.

-WE HAVE REASON TO BELIEVE

THAT THERE IS
A STRONG POSSIBILITY

THAT SOME OF THE PRODUCT
FROM THE PICKTON FARMS

MAY STILL BE SITTING
IN SOME PEOPLE'S FREEZERS

IN THE LOWER MAINLAND,

BUT THERE IS NO EVIDENCE
THAT ANY OF THIS MATERIAL

WENT INTO
THE COMMERCIAL FOOD TRAY.

-WE ARE ASKING THAT ANYONE

WHO IS STILL PERHAPS
IN POSSESSION

OF ANY MEAT THEY OBTAINED
FROM THAT PROPERTY

TO PLEASE CONTACT
THE MISSING WOMEN TASK FORCE.

[PLAYING ACCORDION]

-THE ROPE WAS TIGHT.
THE KNIFE WAS SHARP.

SHE BARELY FELT A THING.

BOBBY KICKED UP THE GENERATOR

AND BEGAN PROCESSING.

[HORRIFIED LAUGHTER]

THIS LITTLE PIGGY
WENT TO MARKET.

THIS LITTLE PIGGY STAYED HOME.

THIS LITTLE PIGGY
ATE MARGARET,

AND THIS ONE
SUCKED ON THE BONE.

[SCANDALIZED LAUGHTER]

-AT FIRST, YOU ASK YOURSELF
WHAT KIND OF MONSTER

IS DOING THIS PERFORMANCE

AND MAKING LITTLE
OF THESE WOMEN'S EXPERIENCE?

THEN YOU ASK YOURSELF WHAT KIND
OF MONSTERS ARE IN THE CROWD

ACTUALLY RESPONDING TO IT?

BUT AT THE SAME TIME,

THERE'S PLENTY OF SUBJECTS
IN MODERN SOCIETY

THAT ARE TOO UNPLEASANT
TO BE PART OF EVERYDAY DISCOURSE

AND OFTEN THROUGH COMEDY,

EVEN BLACK COMEDY,

IT'S THE ONLY WAY THESE MATTERS
ARE ALLOWED TO SURFACE.

NOBODY REALLY CARED
ABOUT WHAT WAS GOING ON

FOR YEARS AND YEARS

UNTIL THEY FOUND A SCAPEGOAT,
BUT IT'S OKAY

BECAUSE NOW WE FOUND
THE ONE GUY WHO'S THE PROBLEM,

AND HE'S IN JAIL,

SO NO SEX WORKERS
ARE GOING TO BE VULNERABLE

EVER AGAIN, RIGHT?

-THE ARTIST'S MOTIVATIONS
DON'T MATTER.

WHAT MATTERS IS THE ART
THAT'S PRODUCED,

WHAT IT SAYS,
HOW IMPORTANT THAT IS.

-I DO UNDERSTAND WHY
IT'S UPSETTING FOR THE FAMILIES

AND FOR OTHER RESIDENTS
IN THE COMMUNITY,

BUT THAT'S
WHAT ART IS SUPPOSED TO DO.

IT'S SUPPOSED TO MAKE YOU THINK.
IT'S SUPPOSED TO MAKE YOU FEEL.

-PART OF WHAT'S ALWAYS HAPPENED

WITH THE DOWNTOWN EASTSIDE
NEIGHBOURHOOD

AND WITH INDIGENOUS WOMEN
AND WITH WOMEN, SEX WORKERS,

WITH SEX WORKERS,

HAS BEEN THAT OTHER PEOPLE
WHO AREN'T INVOLVED

TELL THE STORY.

YOU KNOW, IT'S ALWAYS BEEN
THE CASE OF SPEAKING FOR.

-WHEN THE MOST MARGINALIZED
PEOPLE IN OUR SOCIETY

ARE SAYING, "HEY,
DON'T TALK ABOUT US THAT WAY,"

IS THAT CENSORSHIP?

AND WHEN THE MUSEUM
OF ANTHROPOLOGY

LISTENS TO THOSE VOICES,

IS THAT CENSORSHIP,

OR IS THAT FINALLY SOMEONE
HEARING THE VOICES

THAT ARE NOT HEARD SO MUCH?

-OUR QUESTIONS AND OUR ANALYSIS
ALWAYS STAND ON,

"WELL, WHAT ABOUT THE VIEWER?"

THE HISTORY OF CANADA
IS NOT WELL KNOWN

REGARDING ABORIGINAL PEOPLE,

SO IF I LOOKED AT AND EXAMINED

WHO WOULD BE WALKING THROUGH
THOSE DOORS,

WOULD THEY HAVE
THE CORRECT INFORMATION

TO VIEW THESE PAINTINGS,
PARTICULARLY ABORIGINAL WOMEN,

AND KNOW EXACTLY
WHAT BROUGHT THEM TO THE STREET?

-CERTAINLY, I THINK

THAT COMMUNITIES

AND A NUMBER OF PEOPLE

HELPED US UNDERSTAND
SOME OF THE ISSUES

THAT THE EXHIBITION

MIGHT PROVOKE IN THE COMMUNITY.

-I WAS REALLY STUNNED,
ACTUALLY.

WHAT ANTHONY SHELTON TOLD US,

HE LEARNED A LOT
THAT HE DIDN'T KNOW BEFORE.

HE WANTED TO DO SOMETHING

THAT WOULD
REALLY RAISE AWARENESS,

AND HE REALIZED
THAT WHAT THEY WERE DOING

WASN'T GOING TO ACHIEVE THAT.

-I THOUGHT IT WAS A FORM
OF CHICKEN SHIT IS,

QUITE HONESTLY,
WHAT I THINK IT WAS,

AS MUCH AS IT WAS AN ISSUE
OF CENSORSHIP.

I TOLD THE FOLKS
AT THE MUSEUM OF ANTHROPOLOGY,

"I FIND IT A LITTLE IRONIC
THAT WE'RE HERE, ACTUALLY,"

AND I POINTED AROUND

TO ALL THESE ANCIENT CARVINGS
AND WORKS OF ART

THAT WERE ONCE PANNED AND CALLED
"EVIL WORKS,"

WERE "THE WORK OF SAVAGES,"

AND NOW A BUNCH OF PEOPLE
SHOW UP HERE SAYING,

"HER WORK ISN'T
WORTH A PINCH OF COON SHIT."

THAT REALLY OFFENDED ME
AND REALLY GOT ME ANGRY.

-WHEN I FIRST SAW
ANYTHING ON THE PAINTINGS,

THERE WERE
A COUPLE OF THEM THERE

THAT JUST REALLY UPSET ME,

AND WHEN SHE EXPLAINED IT TO ME,
I COULD KIND OF UNDERSTAND,

BUT I THOUGHT,

"OOH, I DON'T THINK I'D EVEN
WANT THE FAMILY MEMBERS

TO SEE THESE."

-TO LOSE A LOVED ONE

AND THEN TO HAVE YOUR LOVED ONE
PORTRAYED

IN SUCH A HORRIBLE, UGLY WAY

IS BEYOND IMAGINABLE.

I DON'T KNOW
HOW MY DAUGHTER WAS MURDERED.

I ENVISION ALL KINDS
OF HORRIBLE THINGS

HAPPENING TO HER,

SO TO SEE THAT UGLINESS
WOULD JUST...

INTENSIFY, YOU KNOW,

THE THOUGHT OF HOW
YOUR DAUGHTER DIED.

-WELL, I'M SURE WITH
SOME OF THEM BEING SO ABSTRACT,

THAT, YOU KNOW,

MAYBE IT IS GOING TO HURT
SOME OF THE FAMILY MEMBERS

BECAUSE THEY'RE LOOKING AT
A PORTRAIT OF THEIR LOVED ONE,

BUT I'M REALLY
HOPING AND PRAYING

THAT THEY LOOK AT THIS

AS PAMELA DRAWING OUT THE HURT
AND THE PAIN

SO THAT WE CAN SHOW
THE REST OF THE WORLD

THAT THESE WOMEN WENT THROUGH
HORRIFIC THINGS IN THEIR LIFE.

-I STILL FEEL LIKE

MAYBE WE SHOULD HAVE
REALLY LOOKED AT HER WORK.

MAYBE
WE COULD HAVE REALLY LOOKED

AND SEEN WHAT SHE HAD TO SAY
ABOUT IT.

MAYBE WE COULD HAVE USED IT
TO BRING ATTENTION

TO MORE ABOUT WHAT WAS GOING ON.

YOU KNOW,
THERE'S ALL THESE MAYBES,

SO WHY DO WE REACT SO QUICKLY?

WHY DO WE... WHY DO WE...

WHEN, YOU KNOW,

WHEN IT'S STILL HAPPENING,

BUT WITH OTHER GROUPS?

WHY DO WE CHOOSE
AND PICK ONLY ONE PERSON?

-I GOT PNEUMONIA.

I DON'T EVEN WANT TO THINK
ABOUT THE PROJECT GOING ON

ANOTHER YEAR.

I WANT IT TO DO SOME GOOD,

AND I DON'T KNOW
HOW I'M GOING TO PULL OFF

WHAT I NEED TO.

I'M GOING TO TRY MY BEST
TO DO IT.

I CAN'T EVEN THINK ABOUT
THE PROJECT GOING ON WITHOUT,

I DON'T KNOW...

[SNIFFLES, WEEPING]

[WHIMPERS INDISTINCTLY]

-PEOPLE CONFLATE THE MURDER
AND THE LIFE THAT SHE LIVED

AS IF THEY ARE EXACTLY
THE SAME THING.

THEY ARE NOT.

AS IF SHE STARTED TO DIE
WHEN SHE RAN AWAY,

OR WHEN SHE STARTED USING DRUGS,

OR WHEN
SHE STARTED SELLING SEX, OR...

NO.

SHE DIED WHEN SHE WAS MURDERED.
THAT'S WHEN SHE DIED.

SHE WAS ALIVE.

SHE WAS LIVING,

AND HER LIFE
WAS FILLED WITH MEANING,

AND IT HAD LOVE IN IT
ALL THE WAY THROUGH

UNTIL IT WAS TAKEN FROM HER.

I THINK THAT'S REALLY IMPORTANT
FOR PEOPLE TO UNDERSTAND.

-HE, PICKTON, NOT ONLY RUINED
OUR LIVES,

HE'S RUINED 78 CHILDREN'S LIVES.

THOSE CHILDREN,
WHEN THEY GROW UP,

THEY'RE NOT GOING TO HAVE
GRANDMOTHERS,

SO HE'S RUINED GENERATIONS
TO COME,

NOT JUST THE PEOPLE HERE NOW.

HE'S RUINED A LOT OF LIVES.

-THIS IS WHAT THE CORONER
HAD GAVE US TODAY.

THIS IS ALL WE HAVE OF MARNIE.

AS PARENTS AND CARING PEOPLE
AND RELATIVES

WHO KNEW AND LOVED MARNIE,

AT LEAST
WE HAVE SOMETHING.

A LOT OF THE FAMILIES
HAVE ABSOLUTELY NOTHING.

-I'M A LITTLE BIT JEALOUS.

IT'S STUPID TO SAY THAT,
BUT FOR THE FACT IS,

THEY HAVE REMAINS.

THEY HAVE SOMETHING THAT
THEY WERE ABLE TO BRING HOME,

LIKE, JUST A FRAGMENT OF A BONE,
THE TIP OF A FINGER.

ANYTHING WOULD HAVE BEEN
SATISFACT...

THAT I COULD HAVE HAD AT LEAST
THAT,

BUT I HAVE NOTHING,
AND THAT'S HARD, WHEN YOU...

MY MOTHER ALWAYS TOLD ME
AND ALWAYS FELT

THAT IT'S HARD TO ACCEPT
SOMEONE'S DEATH

WHEN THERE IS NO FUNERAL.

-I HAD TO SLOWLY PUZZLE PIECES
BACK TOGETHER

BECAUSE I WAS STILL LIVING
IN THE FOSTER HOME,

SO A LOT OF THINGS
WERE HIDDEN FROM ME.

EVERY ARTICLE, ANYTHING
THAT HAD MY MOM'S NAME IN IT,

ANYTHING TO DO WITH PICKTON
I WOULD KEEP,

AND I ENDED UP HAVING A REALLY,
REALLY LARGE SCRAPBOOK.

I FINALLY REALIZED
I WAS GETTING REALLY SICK

AND, LIKE, JUST OBSESSED
WITH IT.

I'M NOT REALLY GETTING
TOO MANY ANSWERS.

I'M JUST OBSESSING
OVER THE WRONG THINGS.

THE LAST TIME I SAW MY MOM,
I WAS FIVE,

AND THEN AT EIGHT,
I FIND OUT SHE'S DEAD,

AND I'M NEVER GOING TO SEE HER
AGAIN,

SO FOR THAT, BURNING THE BOOK,

IT WAS REALLY, REALLY GOOD
FOR ME,

LIKE, JUST HEALING EVERYTHING.

SAIL ON CHILDREN,
SAIL ON BY

'CAUSE TIME IS AN OCEAN
AND IT ENDS UP ASHORE.

SHE'S BEEN GONE FROM OUR TOUCH,
BUT NEVER OUR MEMORIES.

GONE FROM OUR SIGHT,
BUT NEVER OUR HEARTS.

SO, I WROTE THAT FOR MY MOMMY.

-WELL, I GREW UP
IN THE COUNTRY.

WE HAD 11 ACRES OF LAND,

AND I WOULD SPEND
A LOT OF MY LIFE IN THE FOREST

JUST IN TREES,
AROUND NATURE,

LYING IN THE GRASS.

AND THE FOREST
TAUGHT ME ONE THING.

THERE ARE NO ENDS.
THERE'S JUST BEGINNINGS.

MY MOTHER LIVES ON EVERY DAY
IN ME.

WE LOOK ALMOST IDENTICAL,

SO SHE LIVES ON
IN EVERYTHING I DO.

I'M LIVING THE LIFE
SHE SHOULD HAVE HAD

BUT SHE COULDN'T HAVE,

AND I EMBRACE THAT EVERY DAY.

-I KNOW
IT'S BEEN SO MANY YEARS,

AND THEY'VE DUG UP THE DIRT
AND THEY'VE DONE EVERYTHING,

BUT FOR SOME STRANGE REASON...

I CAN'T EXPLAIN IT,
SOME SPIRITUAL REASON...

I NEED TO WALK ON THAT FARM.

-I'VE ALWAYS WANTED
TO GO OUT TO THE FARM.

IT WAS JUST AN INNER THING
WITH ME,

THAT ONCE I SAW THAT OPPORTUNITY
WITH THAT HOLE IN THAT GATE,

I WAS GONE.

-I'M STANDING AT THE FENCE,

AND I KNEW THAT I COULDN'T GO ON
THE PROPERTY.

I THINK THAT WOULD CAUSE ME
TO BREAK DOWN.

ALTHOUGH WE'VE BEEN THROUGH
SO MUCH,

THERE'S A LITTLE PART OF YOU,

JUST A LITTLE SPARK LEFT
IN YOUR HEART

THAT HOPES YOU'LL TURN A CORNER
AND YOU'LL SEE THEM THERE.

-GO A LITTLE BIT CLOSER
SO YOU CAN GET THE OTHER PART

OF THE CONVEYOR BELT.

WALKING OVER THE MOUND

AND FINDING ALL THOSE THINGS
THAT WE DID SEE THERE,

KNOWING THAT
THAT'S HIS PROPERTY,

THAT'S HIS THINGS...

LIKE, TO ME, I ALWAYS ASSUMED

THAT THAT PROPERTY
WAS ALL CLEARED UP.

GARBAGE,
IT'S BASICALLY GARBAGE, BUT...

GARBAGE TO MOST PEOPLE,

BUT THERE COULD BE TREASURES
FOR ME IN THERE,

SO I'M GOING DOWN THERE
TO LOOK.

ARE YOU COMING, LILLIANE?

AND IT'S BEEN BURNED
NOT THAT LONG AGO,

BECAUSE
I CAN STILL SMELL THE HEAT.

I CAN STILL SMELL BURNED ASHES.

OH, MY GOD.

OKAY, THERE'S A SHIRT HERE.

-OH, YES.

-A WHITE SHIRT.
A MAN'S SHIRT.

A DIRTY OLD SHIRT,
PROBABLY WILLY PICKTON'S.

OKAY...
STAY CALM, LYNN.

MARNIE
WAS ON THAT PIECE OF LAND,

AND AT LEAST I CAN BE SAYING,

"I WAS THERE LOOKING FOR YOU,
MARNIE,

AND I WALKED IN YOUR SHOES,
MARNIE."

NOT THE TRAGEDY THAT HAPPENED
TO HER,

BUT AT LEAST
I WALKED THE SAME DIRT.

-I FELT THAT THIS IS
WHAT I NEEDED TO DO.

THIS IS WHAT I NEEDED TO BRING
MYSELF CLOSER TO MY SISTER,

WOULD BE TO BE ON THE GROUNDS
THAT SHE WALKED.

-OUR FATHER, WHO ART IN HEAVEN,
HALLOWED BE THY NAME,

THY KINGDOM COME,
THY WILL BE DONE...

-WE SMILED, AND WE LAUGHED,
AND WE CRIED, AND...

AND WE SAID GOODBYE.

-AFTER THE MUSEUM SHOW
WAS CANCELLED,

I STORED THE PAINTINGS,

AND THEY'LL CONTINUE
TO BE IN STORAGE

UNTIL THEY'RE SHOWN
IN THE RIGHT PLACE,

IN THE RIGHT LIGHT,

AND FOR ME,
IT NEEDS TO BE IN A PLACE

THAT'S VERY WELL RESPECTED

AND THAT THE WORK GETS RESPECTED
AND THE WOMEN GET RESPECT.

AT THE TIME WHEN I STARTED IT,

I WAS DOING A LOT
OF PERFORMANCE WORK.

I HAD SOME RECORD YEARS
WITH SALES,

AND INSTEAD OF DOING SOMETHING
WITH THAT INCOME

TO EITHER FURTHER MY POSITION
IN MY INDUSTRY

OR MY PERSONAL LIFE,

I ESSENTIALLY TOOK EVERY PENNY

AND PUT IT
INTO THIS COLLECTION.

WAS IT WORTH IT?

YEAH, IT WAS WORTH IT.

IT ALLOWED ME TO GROW AS WELL.

LIKE, IT GAVE ME A GIFT

TO, FIRST OF ALL,

ACCEPT AND LET GO
OF WHERE I'VE COME FROM.

THERE IS A MOMENT
WHERE I REMEMBER

WRITING A LETTER TO MY MOM,

AND IT WASN'T
A NICE LETTER,

AND IT WAS A MOMENT

WHEN I STOPPED TALKING TO HER,
AND I WAS VERY ANGRY.

I WAS SO ANGRY WITH HER
BECAUSE...

I SAW THIS WOMAN
WHO WOULDN'T SPEAK UP

AND PROTECT HER CHILDREN.

AND THEN THERE CAME A POINT
IN THE COLLECTION

AS I WAS PAINTING,

THAT I UNDERSTOOD

THAT JUST LIKE ME
AND THESE WOMEN,

THAT MY MOTHER IS A WOMAN, TOO,

AND SHE HAD HER FEARS,

AND SHE HAD HER LIFE EXPERIENCES
THAT WEREN'T NECESSARILY PRETTY,

AND SHE WAS SCARED,

AND MY FATHER SCARED HER.

SO, I LEARNED HOW TO FORGIVE,

AND I LEARNED HOW TO UNDERSTAND
THAT IT WASN'T HER FAULT.

I CAN'T TAKE BACK
WHAT I'VE DONE.

THE WORK IS GOING TO SPEAK
FOR ITSELF.

BUT IF I CAN TAKE BACK
ANY OF THE HURT,

I WOULD, YOU KNOW,

BECAUSE THE FAMILIES HAVE
ALREADY BEEN THROUGH A LOT.

AND EVERY DAY, THEY HAVE TO LIVE
WITH WHAT HAPPENED.

AND WHEN
I WAS CREATING THIS WORK,

AND ESPECIALLY AT THE BEGINNING,
YOU KNOW,

I REALLY THOUGHT
THAT THEY WOULD BE SEEING

THAT I WAS DOING
SOMETHING FOR THEM,

BUT BECAUSE OF THE PAINTINGS
NOT BEING MEMORIALIZED,

THEY'RE... YOU KNOW,
I'M TALKING ABOUT VIOLENCE.

I'M TALKING
ABOUT NOT HAVING A VOICE.

I'M TALKING ABOUT
NOT BEING SEEN, NOT BEING HEARD.

THEY'RE NOT GOING TO BE PRETTY
BECAUSE IT'S NOT PRETTY.

THIS IS, TO ME,
WHAT NEEDS TO BE CONFRONTED.

-THIS INQUIRY
HAS BEEN CHALLENGING.

WE KNEW FROM THE BEGINNING
IT WOULD NOT BE EASY.

HOW COULD IT BE?

WE'RE DEALING
WITH THE WORST MASS MURDER

IN CANADIAN HISTORY.

KEEP IN MIND THAT THESE WOMEN,

MISSING AND MURDERED WOMEN,

WERE FORSAKEN TWICE,

ONCE BY SOCIETY AT LARGE
AND AGAIN BY THE POLICE.

I'VE REVIEWED IN GREAT DETAIL
THE EVIDENCE

THAT THE CRITICAL
POLICE FAILINGS WERE MANIFEST

IN RECURRING PATTERNS OF ERROR,
AND THE RESULTS...

[WOMEN SINGING ABORIGINAL SONG]

I...

[WOMEN SINGING ABORIGINAL SONG]