Platforms: Nine Places for Seeing

Gordon Dick is a Tsleil-waututh artist who grew up in East Vancouver and Chinatown. These neighbourhoods and the people he knew there are very important to him.

His painting, Brighter Future, is about his connection to the community and his belief that the future will be better as each generation moves forward in time and away from the legacy of the residential and day school system.

In terms of generational history, Gordon’s family is also quite artistic. His dad was an accomplished musician, whose work is featured on a national Indigenous folk CD. He played guitar and was a lead vocalist in a band that played at Expo 86, the Stein Valley, and in many of the bars in the downtown eastside. Gordon’s youngest son follows in these footsteps, turning his attention to artmaking like his father and grandfather. These legacies and attention to generational resilience are paramount for Gordon.

Raven N' The City is inspired by the long historical connection so many Haidas have with Vancouver and the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlil̓wətaʔɬ (Tsleil-Waututh) peoples, from pre-contact to our contemporary lives today.

Vancouver is a cultural hub for many Indigenous communities. Growing up, traveling to Vancouver was known as the “Haida Holiday” or, “going to the big city!” This piece is inspired by the feeling of the rush of leaving our small communities to visit the city. For a lot of us, downtown is one of the first stops upon arrival. There's a moment where you stop and realize you're not at home and there is so much possibility of what to do outside of small-town life's routine. And no matter how many times we come back, it can always feel a little overwhelming with where to start first.

The design features Nang Kilslaas, also known as Raven, arriving in downtown Vancouver. Raven is in the process of transforming out of bird form into their human form, their true face exposed by the Raven mask opening, with human arms and hands taking shape from their wings. The shapes around Raven are abstract design forms to represent the green glass buildings of the city of Vancouver.

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.”

Robin Robert’s Coming Home To depicts a pantheon of animals drawn in northern Haida style Formline. The inspiration for the bentwood box frontlet approach came from the artist sketching while listening to Aboriginal Studies professors speak about the Indian Act, the creation of reserves, and residential schools. He found himself continually drawing boxes that are representative of attempts to confine or “box in” Indigeneity.

The work was created in 3 sections with the left and right windows depicting a bentwood box frontlet figure and a killer whale, representing the water realm. Placing the bentwood box figures on the outer panels was done so that the images are contained within that box. The centre window depict from left to right, an eagle with a human figure (sky and earth realms), a Bear Mother story (earth realm), and a raven stealing the sun, with a salmon egg as the sun (sky and water realms).

This work is presented on translucent vinyl, in part to suggest stained glass windows and the history of religion related to both the artist’s family and the church’s role in the process of colonization.

Three of Robin’s grandparents went to residential school, with the fourth attending day-school. Due to Canadian attempts at erasure, there is a concept in the artist’s nation of “coming back home,” or “coming back home to our people, or our culture.” This work is in honour of that return. Robin reinforces that narrative with the depiction of the salmon, who is known for its arduous return journey, along with the Haida story of the mother bear – which is itself, a story of transformation and returning home.

Learn more about the Bear Mother story

Eagle Woman is a digital drawing of an eagle matriarch dancing beneath a full copper moon. The work was inspired by the many women in the artist’s life who have lifted him up and provided love, guidance, and support. The artist intends for viewers to feel these women’s ability to dance through adversity and pain with ferocious dignity and courage.

In the artist’s own words:

“In each era rises a matriarch. She lives her entire life to serve but she’s no servant. She’s a weaver. Attendant to a loom made of passed down parts. Its components fashioned generation after generation by glorious women who carry an exquisite vision, one of love and unity. The strands of her cloth are souls. Some have heartbeats, others made up only of memories spliced together with artful abandon. Some strands are copper and gold. Others are beautiful with ends frayed, tattered, or torn. She’ll mend them with the fibres of her own frock despite being threadbare itself. Such is the sacrifice her art insists.”

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.

Lauren Crazybull writes about her work: “What relationship do Indigenous people have to the eternal? At some point, it was predicted that Indigenous people were disappearing and would live on only in anthropological representations—ones that quantified and measured us and left us forever in a state of romanticization. Indigenous complexity was often erased in these portrayals. Temporally we are expected to represent a time that precedes us. My painted portraits have been a way to establish Indigenous presence in a way that places us firmly in the present, to look forward to our futures. The people embodied within this artwork are Indigenous, belonging to these lands and spanning across to my home, the prairies. Thank you, Elijah, Taryn, Xwalacktun, Mom, and Jordan for being a part of this work.”

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.”

The artists write this about their work: “This collaborative photo series moves through urban tribal connections, the contentment and wholeness felt as we put ourselves on display with the likeness of the land painted across our bodies. Cognizing the shared condition of grief for the places our ancestors call us back to when we see photos, tourism ads, and hear white peers talking about their hiking trips and vacations. Even when we’re away from home our blood runs in the creeks and lies dried in the soil.”

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.

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.

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.

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.

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.