Platforms: Nine Places for Seeing

From the droplets by which these motions themselves are formed, this “Space Invader” inspired animation seeks the spatial territories of which it witnesses and protects. In understanding the amalgamation of internationally renowned aesthetics that compile “The Pacific Northwest Coast” do we realize the distances between invitation and occupation. Since time immemorial crescents, trigonals, and circles have been part of the visual sovereignty of our greater Xwelmewx territories, so too does the Ovoid Destroyer arrive to ensure the same. 

Artist's statement

“When our lands, rivers, lakes, and the Salish sea are healthy, our people are healthy."

I am deeply inspired witnessing and taking part in the work my community (Tsleil-Waututh) has led in stewarding and restoring the health of our territory. There have been plants and animal kin that have returned and many rebuilt connections to the ecosystems around us. Our livelihood has always relied on an interdependence of many faunas and flora, many of which have disappeared from our lands and waters in the last century and a half. My intention is to pay tribute to those species we have helped bring back in recent years.

This work has and is being led by Tsleil-Waututh people in many different forms along with the assistance of other organizations and supportive groups. The overall goal is to re-establish a healthy relationship with the environment around us because we too come from the land.

Artist's statement

Rock Writing Recollections is inspired by pictographs I’ve learned about from the territories in which this work resides as well as from the interior.

The work is a combination of rock writings from the past and those of my own creation. Many rock writings were of dreams, and some were used as maps. They are markings of our ancestors and I want to bring them into this space to witness the world in which we are currently living. It is a recollection of the past, a holding onto cultural practices, and stories as time moves forward. 

Owls have played a significant role in Mack’s life for as long as they can remember. In many Indigenous cultures, owls are often seen as messengers of death. While Mack’s grandmother honoured and respected this belief, she also taught Mack that an owl could simply be a messenger conveying important messages.

Owls are revered night hunters and guides, with the ability to help us see through darkness and the unknown. Their ability to navigate smoothly through space has resonated with Coast Salish two-spirited folk who navigate between masculine and feminine energies and are often guides within their communities or families. Moreover, this navigational skill reflects the experiences of contemporary Indigenous people who continuously move around in colonized and urban environments on their traditional territories.

Artist's statement

“It is a privilege to live and to share my work on the territories of my relatives, the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ peoples, I want to hold my hands up to them and acknowledge them first.

This installation is a collage of Coast Salish narratives about joy, connection to place, cosmology, and the love of our ancestors. I have spent a lot of time recently looking at historical works of Coast Salish art that our ancestors made and in doing so I have been reminded of the strength of who we are and the strength of our stories. When I look at Coast Salish art that is anywhere from hundreds to thousands of years old, I see a continuous flow of thought and visual language that connects through to the work done by relations and fellow artists now.

Through this piece, I am celebrating the commonalities of culture, story, and lived experience between us as Coast Salish peoples and asking myself what it means to carry Coast Salish art as a xwulmuxw today.”

Kitty’s goal for this series that illustrates the story of sʔi:ɬqəy̓, the double-headed serpent is to bring forward ideas of decolonization and work toward Truth and Reconciliation. The legacy of sʔi:ɬqəy̓ is a significant part of xʷməθkʷəy̓əm (Musqueam) history and the origin of the xʷməθkʷəy̓əm name.

Kitty's thoughts on this project and her process

“Decolonization involves loads of education to identify and unlearn colonial ways of knowing. The story of sʔi:ɬqəy̓ provides insight into this land outside of dominant, westernized truths that many had been taught in schools. Learning about the history of different territories helps in becoming more cognizant of its peoples' cultural ways. In this case, recognizing the land as its own reflects xʷməθkʷəy̓əm ways of life. This knowledge provides a better understanding of how and why certain actions may be helpful or even harmful when working toward Truth and Reconciliation.

To share this piece of the past directly connects to decolonization and Truth and Reconciliation as it demonstrates xʷməθkʷəy̓əm values and eternal connection to the land. Opportunities to share ancestral history are powerful, in turn, our story allows us the chance to establish better structures for moving forward together, as Host Nations and guests.

As a xʷməθkʷəy̓əm person, I wanted my work to serve as an example of the possibilities that Indigenous artists possess individually, outside of traditional stylization. 

For this reason, I created this series of artwork with the exemption of traditional Coast Salish elements. Distancing Indigenous peoples from the misconception of being “one and the same” is important in relation to individual identity. Indigenous people are more than just the group we belong to. 

We are people of varying cultural backgrounds, with separate minds, differing experiences, and unique personalities. That is why I created this work in a style that is personal to me.

Traditional art plays a significant role in the revitalization of Indigenous culture, as well as in understanding Truth and Reconciliation. With that being said, I believe that the celebration of Indigenous artists and artwork shouldn’t be limited only to the artists who have access to learning traditional art. In other words, “authentic Indigenous artwork” includes each and every work produced by an Indigenous person, whether their style demonstrates traditional elements or not. 

My goal isn't to remove myself from any association with my ancestors, but the opposite. I want to bring myself closer to them by representing xʷməθkʷəy̓əm  in a way that is unique to my own imagination and visualization as I reflect on our history. 

My approach for this work was to allow education through art. Historically, xʷməθkʷəy̓əm didn’t use orthography to express themselves or describe events. We learned through our art and oral teachings, passed down generationally. With this, I decided to represent xʷməθkʷəy̓əm history in a way that reflects this particular tradition in hopes that it will invite Host Nations and guests the opportunity to understand our differences in a way that is intimate to myself as an individual.”

Born from Coast Salish and Scottish ancestry, Aaron Nelson-Moody has often been told of the differences and disconnections between these two cultures. His love for both sides of his family has led him to create an artwork that connects the two. In this piece, the artist uses both Western typography and Classic Coast Salish imagery to tell a story, with some parts that are better seen from a distance and other parts only visible close-up.

Spring Awakening includes four different repeating images (a frog, a wild rose, a salmonberry, and a bear) designed and framed using Coast Salish Design elements. Each of these figures are symbols of spring and fresh starts.

In Coast Salish culture, the new year begins when the frogs awaken and begin to sing. The bears are drawn in a way that reflects an old type of design language in Coast Salish work. The salmonberry is the first berry to come in the spring and brings colour to the environment, while wild roses that come a little bit later represent the beauty and fullness of spring and summer, and the full circle of these patterns.

Olivia George’s project draws on the kinship between Indigenous communities throughout generations that continue their connections today in their fight for Indigenous sovereignty in the face of threat and trauma. Bumblebees that are native to North America have been vital pollinators, and have for decades, also faced risks and threats, adjusting to changes to continue to do what they are born to do.

George explains: “This piece represents community, power, and beauty. My concept is bees breaking free from colonies; us decolonizing. Different hives are breaking out. The confines of the hive will no longer be tolerable. Leaving the colonies together, involving and inviting the community of Vancouver. Vibrating a special humming sound with the spread of all the wings, a song will roar. Allowing pollination of knowledge, truth, and positivity. Together spreading love not hate. Our kinship will keep us together on this journey. Humility of our people has been and will always be important, all shining as bright as the yellow of a bee. Humble bees freely flying and living.”

Adele ᒪᐢᑿᓱᐤᐏᐢᑵᐤ Arseneau is a disabled Nehiyaw/Michif multi-disciplinary artist who creates bespoke works for galleries, private collections and public art commissions.

She grounds her artwork in story, engaging audiences by weaving connection to cultural, social and environmental issues. It was the way her family taught her to learn and share knowledge.

Displaced from her family’s traditional territory of Northern Saskatchewan, Adele grew up with the Dakelh people of British Columbia in Prince George, and Fraser Lake.

Adele carves cedar, beads in contemporary and traditional Métis and Plains styles, creates hide textiles and digital art.

She has completed the Reconciliation Carving Program at Langara and holds diplomas in both Fine Art and Graphic Design. In 2019 she finished a hide-tanning residency with Fern and Roe and continues to mentor upcoming hide tanners.

Currently, she is a member of the Triia Native Art Collective in Montana, Cowichan Valley Arts Council, North Vancouver Arts Council, Seymour Art Gallery, CARFAC, and a consultant for the Metis Nation BC’s Culture & Heritage Working Group.

Aaron Nelson-Moody / Tawx’sin Yexwulla is a Squamish and Scottish artist and educator who works to rekindle Coast Salish art and culture, sharing important traditions of intercultural connection in schools, and community projects. He currently works part-time at Langara College Fine Arts as an instructor teaching Indigenous woodcarving. 

Read the story that accompanies the imagery in Aaron Nelson-Moody's piece PDF file (33 KB)

Atheana Picha is a Coast Salish artist from the Kwantlen First Nation, and her grandmother was from Tsartlip. Atheana was given the name Nash’mene’ta’naht by Gerry Oleman from the St’at’imc First Nation, which translates to “Go-getter Woman.” Born in Vancouver, she grew up and works out of Richmond, BC. She is an interdisciplinary artist, working mostly in 2-dimensional media. Atheana has been doing two apprenticeships learning Salish wool weaving with Musqueam weaver Debra Sparrow since 2019, and learning silver engraving, wood carving, and tool making with Squamish artist and educator Aaron Nelson-Moody since 2018. Atheana’s practice is grounded in learning more about Salish design through studying the old pieces, observing nature, and learning from her elders and teachers.

Atheana studied Fine Art at Langara College for three years, with a focus on ceramics, intaglio printmaking, and wood carving. In 2021, she focused on screen printing and drawing. She is engaged with public art through her mural work throughout the greater Vancouver area since 2018, and more recently with banner and vinyl mural installations. Atheana is a two-time recipient of the YVR Art Foundation Emerging Artist scholarship, and has works in the collections at the Museum of Vancouver, Burnaby Art Gallery, Bill Reid Gallery of Northwest Coast Art.

Austin (Aan'yas) Harry is a digital artist that bases his art practice in traditional Coast Salish design. He is a member of the Squamish Nation (Skwxwú7mesh Úxwumixw) and has ties to the Namgis Nation.

Austin attended Emily Carr University of Art and Design and the Vancouver Film School, specializing in 3D art and game design. Using his knowledge of digital tools, Austin creates 3D sculptures, animations, and graphic art. This is his first public art commission for the City of Vancouver.

Caitlin Aleck (Te-Awk-Tenaw) is a Tsleil-Waututh weaver who has been creating works for the last 5 years, both independently and under the apprenticeship of Master Weaver Angela George.  While apprenticing, she and Angela created numerous weavings for a number of elementary schools in the Lower Mainland and the Gordon Smith Gallery.

In the spirit of continuing to share knowledge Caitlin is currently teaching new generations of weavers within local schools and in her own community. Caitlin’s weavings have been exhibited at the Maritime Museum in Vancouver and the Museum of Northwest Art in Washington State.

Her immediate future plan is to work with a dear friend and collaborator in the creation of a business centered on weaving. This is her first public art commission.

Cody lives on the traditional territories of of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. He is a Xwelmewx(Stó:lō)/Settler artist from the traditional territory of S’ólh Téméxw. He grew up in Kekinow family housing in Ts'elxwéyeqw (Chilliwack) off his family’s reservation of Sq’ewlets. He obtained his Master of Fine Arts Degree at Simon Fraser University School for the Contemporary Arts.

Eliot White-Hill, Kwulasultun (he/they) is a Coast Salish and Nuu Chah Nulth artist and storyteller from the Snuneymuxw First Nation. His family has roots in Penelakut, Hupacasath and further abroad up and down the Northwest Coast.

His interdisciplinary art practice is rooted in honouring and celebrating the teachings and stories passed down by his family, community, and culture. His practices include digital art, painting, sculpture, creative writing, public installation, and curation.

He currently resides on the unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ peoples. 

Gordon Dick turned to artmaking at a young age, learning formline from his uncle when he was 13 years old. Since then, he has also incorporated Coast Salish design into his many commissioned artworks. He has created work in numerous media including jewelry, tattoos, murals, and logos.  

Gordon also works with the North Vancouver School District, teaching traditional art to elementary and high school students. This is his first commission for the City of Vancouver.

jaz whitford is a secwe̓pemc and mixed settler interdisciplinary artist who embodies anti-professionalism and anti-colonialism as a way to move toward a future where indigenous knowledge and ways of being are not only respected, but valued and revered. Using a range of materials, forms and mediums they work to investigate and express their lived experience and understanding of spirituality, resistance, ancestral connections, and community care.

Jonas Jones comes from the village of Átsnach (Tsleil-Waututh) with strong bloodlines running from Sḵwx̱wú7mesh Úxwumixw (Squamish Nation) as well. He is grateful for teachers such as Ses Siyam (Ray Natraoro), for indulging within the Coast Salish laws of art, a system that is passed down from master to apprentice.

He is honoured to be practicing this craft, as this foundation of art and way of life has been running through his blood for thousands of years. To live and breathe a little piece of the old people, our swa7am (ancestors) is truly a beautiful thing.

K.C. Hall was born in Bella Bella in Heiltsuk Nation territory and belongs to the House of Wakas. He is the grandson of Hereditary Chief Irene (Wakas) Brown and descends from noted Heiltsuk artist Chief Robert Bell.

Growing up in East Vancouver, K.C. developed an early passion for graphic illustration, lettering, and graffiti. He began looking at ways to incorporate these with traditional Northwest Coast formline after studying with Nisga’a artist Robert Tait in the Northwest Coast Jewellery Arts Program at the Native Education College in Vancouver.

Significant commissions include a blanket he designed and presented to Prince William and the Duchess of Cambridge, a lightbox installation for Foot Locker locations throughout western Canada, and a multistory mural in the West End of Vancouver. In 2017, Lattimer Gallery hosted an exhibition titled Hálúɫ (Fresh) which featured the work of K.C. and fellow Heiltsuk artist Dean Hunt.

Kitty Guerin is a self-taught, 23-year-old artist from the xʷməθkʷəy̓əm (Musqueam) First Nation located in Vancouver, British Columbia. Her main focus as an artist involves storytelling in the form of acrylic paint, mixed-media, or digital illustration. She also works with a broad range of materials including (but not limited to) beads, clay, and felt-tip pen. 

Her earliest interest in art began the moment she was able to pick up a pencil. Having spent much of her childhood observing her grandmother work as a professional artist, Kitty had developed a strong curiosity toward all and any form of creative expression. Her interest quickly developed into passion and she learned to use her creativity to communicate intricate thoughts and emotions.

Kitty uses her art as a form of connection, expression, and reflection. She is passionate about her community and Indigenous rights. She plans on using her artistic mind to bring ideas and concerns forward to the Vancouver public and expand her career by inspiring others and continuing to be inspired herself.

Lauren Crazybull is a Niitsítapi (Member of Kainai First Nation), Dené artist currently living in Vancouver. In her work, Lauren considers Indigenous presence and multiplicity through paintings, creating worlds where honest portrayals trespass onto romantic representations of Indigeneity. Working primarily in portraiture, a long-standing genre that is often embedded with an imbalance of power between the artist/viewer and sitter, Crazybull seeks to examine the relationship between herself as an artist and the individuals she paints. Through this ongoing work, Lauren uses her practice as a way to assert her own humanity, and advocate, in diverse and subtle ways, for the innate intellectual, spiritual, creative, and political fortitude of Indigenous peoples.

Lisa Lewis’s ancestral name is Xwemilut. She is a Salish weaver and author of First Nations children's books.

She apprenticed under master weavers (Chepximiya siyam) Chief Janice George and her husband (Skwetsimltexw) Willard Joseph for 14 years. While she practices the art of Salish weaving, she also learns the songs and protocols that go hand in hand with the artmaking. She weaves regalia to honour ancestors and the people who wear her weaving.  All love and prayers go into her work.

In Lisa’s own words, “I am honored to be able to share our sacred teachings and be part of our ceremonies. Chen kwen mantumi (I am grateful).”

Mack Paul, kʷəlasəltən, was raised in a strong family with traditional cultural teachings.

Mack is a learner of and advocate for Musqueam’s ancestral language, hən̓q̓əmin̓əm̓, and is able to practice their teachings as the protocol coordinator for Musqueam Administration.

A self-taught visual artist, Mack specializes in digital design, with their artworks seen as painted and vinyl murals throughout the region with works commissioned by the Richmond Urgent Primary Care Clinic, Vancouver Aboriginal Child and Family Services, and BC First Nations Justice Council, amongst others. This is their first commission for the City of Vancouver.

Ocean Hyland is a Coast Salish artist from the Tsleil-Waututh Nation.

Her work spans the realms of painting, engraving, wood carving, weaving, and digital design. Hyland's work often incorporates traditional Coast Salish design elements and explores themes of environmentalism, language revitalization and Indigenous stories.

She has studied in Indigenous focused programs at Native Education College and Simon Fraser University. She also credits the many artists and mentors who have helped guide and shape her into the artist she is today.

Olivia George is a Tsleil-Waututh Nation artist, born and raised in North Vancouver. Her favoured mediums are acrylic paint on canvas and producing digital designs. After attaining a Graphic Design diploma, she has been able to create many designs and logos. A couple of recent projects were medal designs for HSBC Canada Sevens Rugby, painted mural projects and to be announced Public Art with the District of North Vancouver. Being a self-taught Coast Salish artist, Olivia always strives to represent a story, animal, brand, or any special meaning with creativity, honour, and respect. Her drawing inspiration comes from traditional beliefs, modern elements, and nature.

Robin Roberts was born in Prince Rupert, BC, and is a member of the Skidegate Band Council of the Haida Nation. He also descends from the Ts’msyen and Sḵwx̱wú7mesh nations. Robin has lived in the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ territories since 1999. He thanks the local Peoples who have lived here, have protected their land and their rights to them forever, and continue to do so.

As an artist Robin concentrates mostly on Haida/Ts’msyen Formline 2D design and carving in cedar. He has recently started to dabble in digital art forms. He graduated with a Bachelor of Fine Arts degree from Emily Carr University in 2004, a Bachelor of Education degree from UBC in 2017, and a Master of Education degree from UBC in 2023.

Shain Niniwem Selapem Jackson is Coast Salish from the community of Sechelt. He is a lawyer who has represented the interests of Indigenous communities and organizations throughout British Columbia in relation to a broad array of issues. After years of working within the Canadian legal system, Shain switched gears to begin exploring Indigenous laws and their codification within artwork.

Artistically, Shain works in Coast Salish design. As he has continued to develop his own artwork to a higher level, he has had the privilege of collaborating with many well-known and up-and-coming artists.

Currently, Shain is the president of Spirit Works Limited, an Indigenous-owned, operated, and staffed company focused on the design, production, and distribution of Indigenous artwork such as jewelry, bentwood boxes, paddles, and artworks integrated into building infrastructure.

Shain has always taken very seriously his responsibilities not only to his own community, but to the larger urban Indigenous community. His commitment is evident through:

• Developing programs aimed at providing employment and training to Indigenous youth.
• Donating space, equipment, and expertise to Indigenous artists in need.
• Consistently donating time and artwork to numerous charitable organizations.
• Designing and facilitating workshops aimed at providing cultural teachings for at-risk Indigenous youth.

Shoshannah Greene, SGidGang.Xaal, was born and raised on Haida Gwaii. She is a member of the Staawaas X̲aaydaG̲aay, from Hlkinil llnagaay (Cumshewa village).

From a young age, Shoshannah has always had a strong drive to be creative. She pursued a Bachelor of Media Arts at Emily Carr University, with a major in hand-drawn animation. During these years, her interests shifted from classical animation to classical Haida formline.

Today, Shoshannah works as a full-time artist, with a creative practice focused on Haida design, both traditional and digital painting, and illustration.

Soloman Chiniquay is a documentary photographer and filmmaker living between xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, səl̓ilwətaɁɬ territory and his homelands of Treaty 7 territory.

His lens-based work explores the ways he is welcomed to witness expressions of Indigeneity, creating imagery that attempts to show, in sometimes raw ways, the land and the people on it, the ways people use and connect to the land, and the artifacts they leave on it.

Sol also tries to incorporate teaching and education in the projects he is involved in. He teaches photography workshops at various high schools and community organizations throughout Canada.

Sydney Frances Pascal is a member of Líl̓wat nation. She is currently living and working on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh Úxwumixw (Squamish), and səlilwətaɬ (Tsleil-Waututh) peoples.

Her multi-disciplinary practice includes hide tanning, video, sound, and poetry.

She uses her practice to tell her family’s story, speak about identity and what it is like navigating as an Indigenous person within a colonial society. Her work over the past few years is grounded by her continued connection to land-based material practices.