The Triple K Story

​The Triple K Story
 
Triple K was conceived as an initiative to support and promote the growing artistic talents of Indigenous artists in Northwestern Ontario. The early 1970s was a time of considerable excitement about and attention being given to Indigenous artists including Daphne Odjig, Norval Morrisseau, Carl Ray and their protégés. It was an opportune time for such an initiative.
 
In 1972, some residents of Sandy Lake including several members of the David Kakegamic family began assessing the possibility of running a silk screening business to print works of local Indigenous artists and take advantage of the growing Indigenous art market. However, at the time logistical barriers such as water availability and disposal of dye wastes proved to be insurmountable to establish such an undertaking in Sandy Lake. During the next year, a few of the individuals originally interested in the initiative moved to live in Red Lake. With renewed enthusiasm, David (father), and sons, Henry, Josh and Goyce Kakegamic revisited the idea of establishing a print shop, but this time in Red Lake.
 
With the support and encouragement of John Vincett, the Community Development Officer working in Red Lake for the Ontario government (Indian Community Branch), the Kakegamics began preparing for the launch of a print making business. Initial funding was made available in the way of an Ontario start-up grant of $13,000. Following training in Toronto (through Farquhar International), Triple K Co-operative was set up in November 1973 in the old curling rink in Red Lake (Hwy 105 just south of Howey Street). Triple K began by printing silk-screen designs of local Indigenous artists on cloth (linen), making T-shirts, wall hangings and other saleable items.
 
Josh, already an artist of some repute, was the principal designer/printer in the Co-op, providing quality control. Goyce (also an artist) and Henry were both printers. Howard Kakegamic (another brother) joined the venture a little later, becoming its administrator. Numerous renowned Indigenous artists (including Norval Morrisseau) living at that time in or around Red Lake were interested in providing their art for reproduction. The potential was there for a successful Indigenous business.
 
Towards the end of its first year, the Kakegamics were drawn to the idea of shifting their production line to limited edition prints, essentially a higher end product in demand by the art market. Such a shift required a deeper understanding of the art world in terms of copyright issues, management, marketing, and particularly the unwritten rules of publication and selling of limited editions. Judy Gouin of Open Studio (Toronto) provided the necessary training and was a considerable resource as the transition was made to the more specialized area of “limited editions”. Through an art consultant, Harold Rosnick, the Co-op was introduced to Roy Maxwell, a long time distributor of international graphics. With the wide distribution offered through Mr. Maxwell and the timely exhibit of Josh’s and Goye’s works at Aggregation Gallery, Toronto (November 1974), Triple K’s reputation and sales began to increase significantly. The potential of Triple K as a printing business seemed more secure than ever. Norval Morrisseau’s presence and the production of his art also contributed significantly to the Co-op’s reputation.
 
Even with this potential, the Co-op faced many challenges, the most pressing one being able to secure adequate space as the building where the Co-op was originally located was to be sold. Following a brief period when the Co-op produced prints out of a six foot square room in one of the Kakegamic houses, the Co-op moved to a storefront on Howey Street in 1975 where it remained for the duration of its operations.
 
Triple K organized its first print exhibit at a Campbell Mine property in Balmertown, a great success with many sales. More importantly, the exhibit introduced the community to local Indigenous art by presenting the art in a professional gallery format. As a result of this exhibit, Triple K became somewhat of a destination for local residents and their guests as well as tourists who purchased prints for themselves and as gifts. Other Triple K exhibits followed, including showings at the Agnes Etherington Gallery in Kingston and the Royal Ontario Museum.
 
For Indigenous artists and entrepreneurs without any prior experience in fine art printing or running a business, Triple K was an important success, bringing attention to northwestern Ontario Indigenous artists. The wide distribution of limited edition graphics across Canada and the US, complemented by several Triple K exhibits, contributed to both the Co-op’s and the artists’ reputations.  The increased sales and exhibits of the member artists’ works by galleries in Toronto (Aggregation Gallery), Winnipeg, Ottawa and other urban centres were a direct result of this success.
 
The artists represented by Triple K included Josh Kakegamic (Sandy Lake, 1952-1993), Goyce Kakegamic (Sandy Lake, 1948 -2021), Robert Kakegamic (Sandy Lake, 1944 - 2020), Norval Morrisseau (Sand Point, 1931-2007), Saul Williams (Round Lake), Barry Peters (Pikangikum) and Paddy Peters (Pikangikum). The principal printers were Henry (deceased) and Josh (deceased), assisted by Goyce and Howard and the artists whose work was being produced. Managers of the Co-op during its operations included Pam Wheaton (1974 – 1978), Margaret Duggan (1979) and Ethel Dodd (1980). Commissions were paid to every artist and documentation of each serigraph was carefully cited in order to protect copyright.
 
Triple K Co-op closed down in the early 1980s. It produced over 180 editions of prints in just under a decade. Having benefited from the Co-op’s marketing and distribution, the artists continued to sell their artwork broadly.