ââåjourneys in Spiritã¢â❠2019 Traditional and Contemporary Native Art Exhibit

Jim Stritzel/2 Comport, Something More

Jim Stritzel / 2 Comport
British Columbia Metis Federation
Something More than, 2020
copper
50.25×42 inches

"Symbol of pebble dropped in water is common in Coast Salish fine art. Here Rain Drops on Salish Sea becomes symbol.

"Felt was 'Something More than' in symbol. Doing work revealed Rain Drops are Salish Ocean transformative Circumvolve of Life gift by Raven.

"Raven'south fresh water souvenir in Cosmos time evaporates. Rising, falling right dorsum as Rain Drops or falls on state as rain/snow. Flowing back, recreating Salish Sea after nourishing country, plants, animals (including two-leggeds).

"Words, thoughts heard/dreamed from work in progress:

"Rain Drops…..Salish Sea
Calming…..Balance
Ancestors…..Calling
Journey…..Within"

"Waves alive -undulating, heaving, troughing, yawing, blending Pelting Drops into Salish Sea transformation.

"Rain Drops take darkened center. Inviting 1 to 'Journeying Within' Salish Sea and oneself.

"Work all paw done. No power tools used.

"Respectful thanks to Salish Elders who gave permission to work in their style.

"As well to Puyallup Nation for stewardship of state for untold generations where IN THE SPIRIT occurs."

Chholing Taha, Lost Birds Returning

Chholing Taha
Cree Offset Nations
Lost Birds Returning, 2018
wool, silk, ultrasuede, brass bells, glass crystals
46×54 inches

"Our awareness of the tragedy of murdered and missing Indigenous women has at final been given the the public sensation that is so needed. Crises need to exist unveiled, merely also action is required after the initial shock, seeing this is real, is very important. Hither I address the critical action necessary from communities/families/friends to welcome dwelling house the lost birds in Indian Country. Whether the Sis is alive, still missing, or has moved on from this life, this shawl welcomes them all inside its woolen arms."

RYAN! Feddersen, Two Birds Both Dead & Coyote Restored in Starlight

RYAN! Feddersen
Confederated Tribes of the Colville Reservation
Two Birds Both Expressionless, 2019
drinking glass
xiii.75×7 inches

RYAN! Feddersen
Confederated Tribes of the Colville Reservation
Coyote Restored in Starlight, 2019
drinking glass
12×11 inches

"In my art practice, I use traditional Plateau storytelling applied to gimmicky issues, historical enquiry, and digital tools, to create textile applications which interrogate official histories, examining how what we recollect has been formed by the information we accept been taught. I explore creative strategies to actuate participation through interactive materials, oversupply sourced content, and social practice. These approaches enable my work to outset conversations virtually a broad spectrum of subjects by offer opportunities for interaction and introspection."

To find out more than:

Website: ryanfeddersen.com

Instagram: @ryanfeddersen

Peter Boome, Prayer Rattles (female, male) & sunshine on the mountains

Peter Boome
Upper Skagit
Prayer Rattles (female, male), 2019
hand carved from reclaimed yellow cedar, with glass inlay, horsehair, deer hooves, bounding main shells, sitting in hand carved basket stands from yellow cedar and cottonwood root, with acrylic paint
15×4×5 inches

Peter Boome
Upper Skagit
sunshine on the mountains, 2020
acrylic paint on sail
24×36 inches

"Art is everywhere, lines, curves, shapes, and colors, surround united states of america. I am a Declension Salish Artist. My art is rooted in a historical design tradition which is a straight reflection of my civilization; it is likewise a reflection of my personal, cultural, and spiritual world view. I believe art influences and guides u.s.a. in many directions. If you accept that fine art and civilization are intrinsically continued yous realize that art, similar civilisation is malleable, while based on a historic foundation both go along to evolve and expand. Our use and need of art is as strong as our utilize and need of culture. As an artist representing a distinct culture at that place is an obligation to carry our artistic tradition with utmost care and respect, by honoring the past, representing the present, and laying the foundations for the hereafter. My work strives to tell stories of our past, present and future."

To detect out more than:

Website: araquindesigns.com

Shawn Brigman, Salishan Sturgeon Nose Canoe Column

Shawn Brigman
Spokane Tribe of Indians
Salishan Sturgeon Nose Canoe Column, 2019
diddled and hot-sculpted colored glass
26×5×five inches

"During my 2019 Ethnic arts residency working with the hot shop team at the Museum of Glass Tacoma, I explored the manifestation of ancestral Plateau village implements through the medium of glass, celebrating their subtle, curved refinements. Plateau hamlet implements like basketry, fish harpoons, horn spoons, and root digging sticks were historically packed into the bawl sturgeon-nose canoe for movement on the h2o to distant root excavation grounds in March, and the salmon harvest sites like the historic Kettle Falls fishery first in June. I gloat and highlight this Plateau canoe heritage in glass, manifesting Indigenous hamlet patterns since time immemorial based on family, piece of work, and recreation all linked every bit one. As a Plateau-specific cultural form, the glass canoe forms represent the marriage patterns, food gathering patterns, Indigenous knowledge, and even a fish for perhaps it was the sturgeon that once inspired the shape and design of the ancestral canoe."

To detect out more than:

Website: shawn-brigman.squarespace.com
Facebook: @shawn.brigman
Instagram: @salishansturgeonnosecanoes

Kurt Poste, bones cedar hat (low tier)

Kurt Poste
Squaxin Island Tribe
basic cedar chapeau (low tier), 2020
cedar bark (red)
7.75×half-dozen.5×12.5 inches

"With the reintroduction of native culture and practices. Sometimes basic teaching bounds are discarded for extravagant presentation. This art piece exhibits various bark weaving styles from common plaiting, to intermediate braiding. Visualizing past ancestral times brought an entry level view, without condition, class or title. All tying in together one purposefully finish goal, Shade-hat."

Micah McCarty, Sign of the Time

Micah McCarty
Makah
Sign of the Fourth dimension, 2020
elder ruddy cedar, equus caballus hair, acrylic, graphite PPE
eleven×seven inches

"Covid-19 mask over Wildwoman Mask, Sign of the Pandemic"

To find out more:

Facebook: @Micah-McCarty-507922293059343/
Twitter: @klaowus

Lily Hope, Chilkat Protector

Lily Hope
Tlingit
Chilkat Protector, 2020
Chilkat weaving on thigh-spun merino and cedar bark warp, merino weft yarns, tin can cones, and ermine tails
seven×7.5×.25 inches

"Our Chilkat robes woven on the Northwest Coast of Alaska have been worn in ceremony for hundreds of years. For memorials, for naming ceremonies, for celebrations. Our dancing robes record history, chart association migration and tell stories. Chilkat Protector is recording our history NOW. Telling our story NOW. Charting our future At present. Bringing past to nowadays."

To find out more than:

Website: world wide web.lilyhope.com
Instagram: @lilyhopeweaver

Jeffrey Veregge, Gentleman George

Jeffrey Veregge
Port Gamble S'Klallam
Admirer George, 2020
digital Giclee sheet
36×36×2 inches

"Gentleman George was inspired by my Nifty-Uncle Ivan "Ivar" George, who along with many dauntless men stormed the embankment of Normandy; June sixth, 1944, better known to the globe as "D-Day". My Uncle non simply survived, but also lived to end his WWII tour in Western Europe as role of the US Army. In spite of seeing the horrors of war, and coming abode to a Washington state canton that had many establishments refuse service to him for beingness Native American, he maintained a corking sense of humor, honey for family, dear for angling and enjoyed spinning a great tales for his many nieces and nephews through the years. He was the bravest and toughest human being I have ever known. He lived to be 88 years old, and I loved him very much."

To find out more:

Website: world wide web.jeffreyveregge.com
Facebook: @jeffreyveregge

Kelli D. Palmer, Blueish Corn Husk Hat with Plume Design

Kelli D. Palmer
Confederated Tribes of Warm Springs
Blue Corn Husk Hat with Plume Design, 2020
hemp strings, dried corn husk, rayon raffia, cotton fabric with beads and shell accent
ix×10 inches (25 inches bore)

"For the upcoming year I have been enjoying the ability to just create. Spending a lot of time at dwelling house at present I detect that working on my weaving has been keeping my spirits up. This basket chapeau represents my freedom to only create."

Dan Fri, Owl Totem & Forager Totem

Dan Fri
Lummi
Owl Totem, 2020
manus-sculpted drinking glass
17×4×six inches

Dan Friday
Lummi
Forager Totem, 2020
paw-sculpted hot drinking glass
27×7×vii inches

"Granddad Joe's (Joseph Hillaire) totem poles were different, and very contemporary at their time, he had his ain fashion. In a time when many Native peoples were isolated and adapting to their rapidly changing environment, Grandpa, with his stories and Totem poles, shared the means of the Lummi, and Coast Salish people. His poles were notably in the 1962 World'south Fair and in Kobe Japan. Some of his poles still stand today.

"The stories and lines in my Totems are subtle. I often wait to personal feel and expression for the themes. I am grateful for my grandad and his modern approach, it empowers me as I find my manner. Our work is different, merely a mutual message is that 'we are still here.'

"I think anyone who can detect their own vocalisation in whatsoever they exercise is very lucky.

"Creativity was fostered by my family from an early age. Living without Boob tube and knowing our rich cultural heritage of the Lummi Nation, meant that making things with our hands was a regular activeness.

"I typically work with elementary themes and forms, and often utilize the subtle silhouettes of glass when making my totems. Information technology is a pleasure seeing inanimate objects taking on a life of their ain. The more than narrative work is commonly a personal expression or a means of processing a life issue, ofttimes with an underlying statement.

"When I saw glass bravado for the outset time, it felt as though I grew an inch! That is to say, a huge weight was lifted from my shoulders. I had finally figured out my path. This was no minor feat for someone who, as a youth, was rebellious and misguided. Glass altered my life. In spite of my colorful past, and by the grace of a loving customs, I plant my passion in glass.

"Living equally an artist may not be straight saving the earth, but perhaps nosotros are saving ourselves and hopefully, in the process, making the globe a better identify."

To find out more:

Website: www.fridayglass.com/index.html

George A. Zantua, Spirit Quest

George A. Zantua
Tlingit and Haida
Spirit Quest, 2020
acrylic on canvas
xviii.v×14.5 inches

"The Great Spirit Bear is known by the Tsimshian, Tlingit and Haida on the Northwest Coast of Canada and Alaska to be a symbol of power, strength, and courage. Through proper song and the Pulsate, ane will come to develop the confidence to assume this strength and courage in one's quest through life.

"The Spirit Quest painting is a visual representation of this Quest."

Matika Wilbur, Wilson Mungnak Hoogerdorn and Oliver Tusagvik, Inupiaq

Matika Wilbur
Tulalip
Wilson Mungnak Hoogerdorn and Oliver Tusagvik, Inupiaq, 2019
photo on Mahnemuhle fine art paper
20×24 inches

"Matika is one of the nation'due south leading photographers and founder of Project 562. Project 562 is a multiyear photography projection in which Matika journeyed 400,000 miles to capture images of Native Americans from more than 500 sovereign nations, visiting and photographing Indigenous folxs from all 50 states along with Southward America and New Zealand. The result is an unprecedented repository of images and oral histories that accurately portrays contemporary Native Americans and Ethnic peoples.

"Wilson Mungnak Hoogendorn and Oliver Tusagvik, Inupiaq brothers from Nome, Alaska, were the first to acme Due north America'south highest peak, Mount Denali, in the 2019 climbing flavour.

"I asked them how they prepared: 'Doing hard things,' Wilson chuckles.

"'If you're but constantly doing hard things, it's a blip upward if you lot want to become. Exercise something crazy,' Oliver explains.

"Wilson agrees, 'Just doing hard things makes everything easier.' They recall walking into the ranger station to register to climb and beingness met with sideways glances.

"'Are you sure?' the ranger asked.

"'Probably considering nosotros didn't look fancy'… Wilson mentions that most of the people that climb have really expensive equipment and many fifty-fifty have sponsorships. Despite uncertainty, they proceeded to break trail for the 2019 season at the 3rd well-nigh prominent and isolated summit on World, subsequently Mountain Everest and Aconcagua. Denali, a kuyokon discussion that ways "high", "alpine", or "bang-up 1" is the highest mountain in Northward American at 20,310 feet above sea level.

"Oliver turned 22 years old a couple of months subsequently the climb. He just graduated from Fort Lewis Higher in Durango, Colorado, with a Available of Scientific discipline in Environmental Biological science. Wilson is 21 and is attending the University of Alaska Anchorage, majoring in aeronautical studies and recently earned his airplane pilot's license."

To find out more:

Website: matikawilbur.com and www.project562.com
Facebook: @Project562
Instagram: @project_562 and @matikawilbur

Carol Emarthle Douglas, 20-Nine & Buffalo Thunder

Carol Emarthle Douglas
Northern Arapaho
Xx-Nine, 2019
traditional coiled basket/unmarried hemp cord foundation, iv-ply waxed linen threads
half-dozen×11×eleven inches

Carol Emarthle Douglas
Northern Arapaho
Buffalo Thunder, 2020
ane mm round reed core, natural & dyed raffia, beading thread
1.5×one.5×2 inches

"The coiled basket titled Xx-Nine brings awareness to the MMIW (Missing Murdered Indigenous Women) movement. The red dresses represent Native American women and the red easily are too a symbol of the move. 20-nine is the statistic that represents the average age women are murdered or missing."

Website: www.cemarthleart.com
Instagram: @cemarthle

Quentin DeCoteau, Beautiful Day

Quentin DeCoteau
Jamestown S'Klallam
Cute Day, 2019
ink on vellum newspaper, disordered and framed
20×26×32.eight inches

"Cute Twenty-four hours came to be subsequently a particularly prissy day at Woodland Park Zoo and a visit to the butterfly exhibit. As we watched the delicate fauna fly here and there, the epitome of this slice developed in my minds eye. I idea to myself, 'I've never seen a butterfly on a rainy day…. they must only come out on beautiful days.'"

Jennifer Wood, Rising Waters

Jennifer Wood
Yup'ik
Rising Waters, 2019
basswood, gel medium, pigments, bone beads, seed beads, lava stone beads
sixteen×9×two inches

"Rising Waters has a meaning which tin can become one of two ways: the literal dangers and threat of rising waters, especially as our planet warms, or the feeling of one'south own strength and ability growing. I've been really inspired by the activism of Native people, especially the growing numbers of young people. As many of the bug nosotros face up today are associated with water, I see this empowerment as wound upwards with the waters nosotros rely on."

To notice out more:

Website: https://yupikjen.com/
Instagram: @yupikjen

Tony Boyd, Crow

Tony Boyd
Colville
Crow, 2020
framed impress
24×33 inches

"Creation of artwork, I believe, is an effort to understand a connectedness of our people, nature, and land and as well all that we hold sacred."

To find out more:

Instagram: @tojoboyd

Denise Emerson, Ancestors

Denise Emerson
Navajo and Skokomish enrolled
Ancestors, 2020
plexiglass
17×18 inches

"After graduating from the UW with a BFA in Graphic Design, I began mapping dewdrop designs in Excel, each cell represents a bead. Forth with mapping my designs in Excel, I studied historical photographs of Native people. I view the photographs every bit ancestors looking at me. The focus of my art is to stand for them in today's world. My interest is representing women, babies, and children.

"My father was Navajo and he taught me that the Navajo tribe is matriarchal. His words have directed me in the involvement of representing Native women. These two art pieces are of women I've been working on for five years. I create each figure in a separate spreadsheet, and when I feel the images are gear up to combine in one spreadsheet, this is when I begin creating the composition. When the limerick is finished, I work on colour combination. This finishes the art piece."

To find out more:

Website: https://www.etsy.com/shop/NeeceesAncestralArt
Instagram: @dineskok
Facebook: @denise.emerson.12

Linley B. Logan, Wolf with Lipstick Rattle

Linley B. Logan
Onondowaga (also known as Seneca Nation)
Wolf with Lipstick Rattle, 2019
recycled materials
iv×three×22 inches

"I have a history of being creatively conscientious in incorporating recycled materials like plastic containers in my piece of work. The original Wolf with Lipstick Rattle was made when I attended Puhoro, the 9th International Indigenous Visual Arts gathering hosted at the Turangwaewae Marae outside of Hamilton, New Zealand in November of 2019. I gifted the original rattle to the Turangwaewae Marae community. The rattle sits on a large carved public art piece that was gifted to the Marae community.

"The rattle is fabricated from a New Zealand plastic milk container.

"This is the first rattle I have made using recycled plastic containers.

"As indigenous people, nosotros take ever creatively utilized the resources available to us which in pre-contact were natural resources only. We have access to human being made resources today, and as an indigenous artist I recognize the value of using all the resources available to me which includes recycling human being fabricated waste materials into art."

To find out more than:

Website: https://my.getjealous.com/linleyblogan

Cynthia Masterson, Recipe For A Quarantine

Cynthia Masterson
Comanche Nation of Oklahoma
Recipe For A Quarantine, 2020
Czech glass beads, Swarovski crystals, iPad, found household objects
12.5×24×20 inches

"Recipe For A Quarantine reflects my feel during the COVID-19 outbreak in jump 2020. My husband and I are following the stay-at-home orders together in Ballard, Washington.

"Each beaded blueprint element is fatigued from what is happening around usa. The upended world shook me to move away from my usual palette of Comanche colors and design patters I might never have created.

"Much of our time and thoughts revolve effectually nutrient. Planning, getting, storing, preparing, eating and cleaning up. We never use this whisk and every time I see information technology in the drawer, I desire to bead it.

"I use my iPad often to observe recipes and to use Zoom, Facetime, and Facebook. Personal Zoom calls are out of the norm, fun highlights during our confinement. Connecting and re-connecting is entertaining, educational, and essential.

"As of this writing the future is uncertain, but the dominicus continues to ascension."

Recipe for: A Quarantine
Serves: Much of the World

Nuance of Virus
People – Separated
Zoom – if in flavour
Lots of time
Cherry Blossoms- bloomed and faded
City Streets
Countless news cycle (optional)
One Homemade Face Mask for each serving

Combine a nuance of virus with people. Use caution, a trivial goes a long style. Infect just a few before physically separating yourself from all the people you know and love. Add Zoom if bachelor. Use the time to take long walks all over your neighborhood and coat quarantine with wonder from the cherry blossoms. Sprinkle with the amount of news you tin can tolerate.

Use restraint, some may have adverse reaction.

If quarantine results in your death, toss out entire batch and endeavour again in another lifetime. If quarantine results in another's expiry permit rest in heartbreak mixed with solitary stunned defoliation and effort to make sense of information technology all.

Store quarantine for weeks to months and serve in a homemade face mask.

To discover out more:

Website: http://www.bluedotbeadwork.com/
Instagram: @bluedotbeadwork
Facebook: @bluedotbeadwork

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Source: https://www.washingtonhistory.org/exhibit/15th-annual-in-the-spirit-contemporary-native-arts-virtual-exhibition/

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