Title: Nitsiniksin (My Story) The G.O.A.T.

Artist: Craig T Marks

Tribal Affiliation: Pikuni (Blackfeet Nation)

Year Completed: 2022

Medium: Acrylic and spray paint on cast sculpture

Dimensions (HxWxD): 48" X 60" X 23"

Description/Inspiration:
Project GOAT (Global Offensive Against Trafficking) utilized specially designed goat sculptures to raise money and awareness to combat human trafficking. This goat was originally intended to be orange with Blackfeet pictograms depicting the remains of every child recovered from school properties to date. After a conversation with a close friend of the artist, the concept changed from a memorial to a victory statement-a winter count for not just the victims but the survivors. The pictograms in the blue area of the goat represent the survivors of the residential school era. These are the elders who kept the language and culture alive when governments and the church worked so hard to eradicate them. The pictograms in red, below the earth line represent those who did not come home. One flank of the goat depicts the members of the Dream Catcher Foundation Council. The Council are the quintessential example of colonization's failure to "kill the Indian and save the man." These are pro athletes, supermodels, actors, musicians, artists, and influencers. You can't help but see them. Undeniable proof that Indigenous people are still here and gaining momentum every day. The other flank tells the story of Native America through the artist's family. Panning down the side, you can see how within a generation of being removed from the reservation tradition gave way to the fashion of the time. The artist shows his grandmother Agnes Kellerher and Grandfather Jimmy Big Spring as they would have appeared in the 1930s. His grandmother Helen and uncle "Smokey" in the 1950s, and his mother in the 1960's. His uncle William "Jimmy" Kellerher, a Vietnam veteran, represents the native veterans. In 1978, Natives were again allowed to practice their culture openly. This can be observed in traditional attire appearing again with the artists extended family. His cousin Deborah Red Shirt, and adopted brother and sister, Jesse DesRosier and Tillie Torpey. Blackfoot Artist Terrance Guardipee Last Gun in his elk tooth necklace helped to inspire and teach Mr. Marks through the years. The story could not be complete without the support of the artists wife, who stands next to the Skyway bridge representing Florida, and the artists heart. To the right of the skyway is Chief Mountain and a Pikuni camp, representing Blackfeet Country and the spirit of the artist. Between these two is a bull bison-the artist himself walking in two worlds. Displayed on the goat are the north star and big dipper, along with the red hand representing Missing and Murdered Indigenous Women, Girls, and Two-spirit People. Even the eyes are slightly different, with a nod to Napi. The goat is a representation of the perseverance of Native America. It symbolizes colonial failure to erase Indigenous peoples. In every way this goat says to the world: "We are still here."

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Title: FORGET US NOT

Artist: Sharon Waawaaskonenhens' Trudeau

Tribal Affiliation: Odawa (aka Ottawa)

Year Completed: 2019

Medium: Beads, deer hide, pine wood, baling wire, horse hair, silk thread, synthetic sinew, gemstones, hairpipe bone, muslin dolls, FORGET US NOT poem & certificate holder

Dimensions (HxWxD):

DOLLS: 16" x 24" x 7 3/8"

POEM/CERTICATE COVER: 8 1/2" X 11"

Description/Inspiration:

As a teenager, I hitchhiked across Canada alone. But for the grace of Creator, I could very well have been one of the missing or murdered. The FORGET US NOT Collection was inspired by the on-going tragedy of Missing and Murdered Women and how I escaped being counted amongst them. The poem was written first and inspired me to continue with the faceless dolls. The symbolism of the dolls is, though they are from three (3) different nations, they are holding hands representing sisters, who, despite their differences in customs, traditions, and geographical locations, stand together--united. Each 'sister' wears a forget-me-not flower either on her moccasins, belt, or necklace. The hands across their mouths symbolize no longer having a voice and the desperate need for us to be their voice-for us to forget them not-for all indigenous nations to stand together as one family to protect our SISTERS. The beadwork for the forget-me-not flowers was done entirely in my Signature modified Square stitch and is guaranteed from ever falling apart through normal wear and tear. Each bead, added one at a time, is individually sewn to each of the surrounding beads using only 100% silk thread. Using this stitch, each bead ends up with between 6 and 9 strands of thread through it. Durable and strong!

Artist Bio/Statement:

I've worked with such mediums as pencil, pen, charcoal, pastels and paints. Born for the Odawa Nation and originating from an ancestral home renowned world-wide for its beautiful beadwork and artistry, mid-way through life and working under my Odawa name of Waawaaskonenhens (Little Flower), I chose to put down my pencils and brushes to pick up a beading needle. Beading is my life's passion and picking up that needle is like opening the door into my own little world. Working in the strongest stitch possible and creating pieces that fuel the imagination bonds together intense pride in art and heritage. By modifying the strongest of all stitches, the traditional Square Stitch, to double its strength, using only 100% silk thread and natural beeswax, the result is a piece of work that will last for many generations. It is true that my first love and specialty is beading. The freedom to lay down the beading needle and pick up a file for smoothing and sizing bone and horn, or a glovers needle for sewing hide. The freedom to bring ancestral work into the future by way of contemporary designs while maintaining the quality of the traditional. With the exception of the synthetic sinew used for stringing or sewing, the traditionalist in me insists on using all natural materials while the creative individualist side of me feels the need to expand on the traditional ? the need to step outside the box ? the need to be "different". I hope I have succeeded! It is my prayer that the resulting works signify honor and respect to the ancestors in every piece.

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Title: Sweet Scent (Mother Earth Series)

Artist: Danielle Swift

Tribal Affiliation: Métis Nation of British Columbia

Year Completed: 2019

Medium: Alpha Gypsum, Bronze, Dirt, Resin

Dimensions (HxWxD): 14"x 6.5"x 2.5" (approx.)

Shipping:

(extra for coverage: $2.50/$100)

Description/Inspiration:

This piece is an original 1/1, wall mounted with a screw.

The Mother Earth series is inspired by our deep connection to the land and through that to our ancestors and the Creator. Smell has the strongest link to emotion and memory. When I smell the earth, grass and plants I feel a real sense of wholeness.

Artist Bio/Statement:

Danielle Swift's work explores the human body and communicates the dichotomy of our natural environment and human constructs, creation and destruction, and the fragility and strength represented in both the delicate and resilient mix of materials (wood, dirt, beeswax, paper, jute, copper, bronze, plaster, concrete, resin, etc), which makes the observer feel the duality of an emotional and cerebral connection. Having established an affinity for concrete as her main medium, Swift's drawn to how the material can be innovatively manipulated in a way that works aesthetically and is uniquely individual.

Swift's sculptures have appeared in numerous local exhibits, most notably, ART Vancouver art fair; East Vancouver's HFA Contemporary gallery, Deconstruction and the Space Between; Granville Island's Becker Galleries; Vancouver's Windsor Gallery, and The ACT Art Gallery in Maple Ridge. Commissioned and collaborative work can be seen at Vancouver Children's Hospital, Science World Vancouver, Vancouver International Airport and Princeton University's Children's Library, NY.

Danielle Swift lives and works in Vancouver, BC; the unceded traditional territories of the Musqueam, Squamish, and Tsleil-Waututh Nations.

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Title: We Are Listening

Artist: Danielle Swift

Tribal Affiliation: Métis Nation of British Columbia

Year Completed: 2019

Medium: Alpha Gypsum, Bronze, Dirt, Resin

Dimensions (HxWxD): 14"x 6.5"x 1.5" (approx.)

Shipping:

(extra for coverage: $2.50/$100)

Description/Inspiration:

This piece is an original 1/1, wall mounted with a screw.

The Mother Earth series is inspired by our deep connection to the land and through that to our ancestors and the Creator. The wind, the water and the wildlife are all the voice of Mother Earth and taking the time to listen brings me peace.

Artist Bio/Statement:

Danielle Swift's work explores the human body and communicates the dichotomy of our natural environment and human constructs, creation and destruction, and the fragility and strength represented in both the delicate and resilient mix of materials (wood, dirt, beeswax, paper, jute, copper, bronze, plaster, concrete, resin, etc), which makes the observer feel the duality of an emotional and cerebral connection. Having established an affinity for concrete as her main medium, Swift's drawn to how the material can be innovatively manipulated in a way that works aesthetically and is uniquely individual.

Swift's sculptures have appeared in numerous local exhibits, most notably, ART Vancouver art fair; East Vancouver's HFA Contemporary gallery, Deconstruction and the Space Between; Granville Island's Becker Galleries; Vancouver's Windsor Gallery, and The ACT Art Gallery in Maple Ridge. Commissioned and collaborative work can be seen at Vancouver Children's Hospital, Science World Vancouver, Vancouver International Airport and Princeton University's Children's Library, NY.

Danielle Swift lives and works in Vancouver, BC; the unceded traditional territories of the Musqueam, Squamish, and Tsleil-Waututh Nations.

Please note:

Shipping within the U.S. & Canada is included in the purchase price. Sales tax and an additional 4% + $2.00 per item will be applied to the entire transaction to cover taxes, credit card processing, and other fees.

Title: The Hands of a Master

Artist: Hayden Haynes

Tribal Affiliation: Seneca Nation of Indians, Kiowa, Muskoke

Year Completed: 2022

Medium: Moose Antler

Dimensions (HxWxD): 2"x1"x.75"

Description/Inspiration:

Inspired by watching master potter and friend Peter B. Jones demonstrate traditional pottery. I took some photos of him demonstrating at a festival and decided to create a piece that captured how hands work and create pottery. These antler rings are what i consider special occasion pieces. Although they can be worn everyday, it is recommended that they only be worn occasionally. This will help maintain the color of the piece. It is also recommended that the piece be stored in a box when not in use to avoid long exposure to light and sunlight.

Artist Bio/Statement:

I am a self-taught antler carver and a member of the Seneca Nation of Indians. I began carving in my mid-20's. I was inspired to begin carving after seeing some works by Stan Hill Sr., Wayne Skye and Norman Jimerson, but I developed my own unique style. Early on I realized that antler and bone carving was an art form that did not receive the same amount of acknowledgment as other traditional art forms. In fact, many to this day, still do not recognize the relevance of antler and bone carving within our culture, and therefore the material and art form are in many ways oppressed. So I set forth to not only hone my skills as an artist, but also to to bring to light, the importance of this often overlooked art. I have had no formal education in either arts or arts education. However, I spent/ spend a considerable amount of time researching techniques and tools my people used to work bone/antler. In 2016, I was invited to have my first solo show at the Seneca-Iroquois National Museum. All the while learning as much as I could about how the material relates to our culture. Collaboration is a focus of my work. In 2021, I teamed up with fellow Seneca, Jocelyn Jones who is a culture bearer and model. I photographed her in several locations related to the Thomas Indian School (TIS), which was a Native American residential boarding school that operated on our Cattaraugus Territory. The photos were eventually expanded into a full scale exhibit installation with other 2-d, & 3-d works by other artists. It is currently on loan to the Seneca-Iroquois National Museum. This is one example, however my collaborations take many forms. Most often I use what I do and any platform and opportunity I have to help uplift the voices of women and women artists. My life's work is also to help restore in small ways, the role of women in our culture and society. I believe my current work (carving, knowledge sharing, education/lectures, curatorial, collaborations) is really coming into a good place. I feel like all of my efforts in the revitalization of antler carving are making a difference. Even though the numbers of carvers (or those revitalizing utilitarian bone usage) I work with or talk with are small, they are more. And the opportunities to talk to institutions about the material and art form from a cultural perspective is increasing. My future work will be a continued exploration of material innovations, and as it is now, confrontation with social topics, uplifting our women, and using my work to help revitalize antler carving.

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Title: Large Northern lights - Keepsake Art Doll

Artist: Kristina Bannatyne

Tribal Affiliation: Anishinabe/Ojibway from Toronto/Wauzhushk Onigum Nation

Year Completed: 2022

Medium: 100% Cotton canvas, tulle, Swarovski crystals, Blend of cotton,wool
mohair, cashmere yarn.

Dimensions (HxWxD): 24x11x3

Description/Inspiration:

Inspired by the natural beauty of the Northern Lights, this Keepsake Art doll is carefully hand painted, sealed, embroidered with stars and embellished with Swarovski crystals. She will light up any room and will be treasured as a Keepsake for many years to come. Being able to create and design this One of a Kind Art doll brings me so much joy and is my creative output where I can bring out the little girl in me and have fun in the process.

Warning: ***Doll is intended for decor only. Contains small crystals and glitter***

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Title: Celebrating Bwaasiniimidin

Artist: Two White Feather - Issac Petonoquot

Tribal Affiliation: Saugeen First Nation - Anishinaabe

Year Completed: 2021

Medium: Cedar Branches and Yarn

Dimensions (HxWxD): 12' x 9.5' x 2.5'

Description/Inspiration:

One of many Dancers from the Stick Family Line. It is said that Grass Dancers would go out early in the morning and dance on the grass, creating a flattened area for the community Pow Wow to be held later in the day. The yarn worn by Grass Dancers is said to represent grass swaying in the wind.

Artist Bio/Statement:

The Creator's Shelf is a partnership effort of Issac Two White Feather from Saugeen First Nation and Settler Ally Lori Gentle Eagle from Niagara Falls. Crafting helps us to open our hearts, calm our minds, move our bodies and connect us to spirit. It began as just another healthy distraction that supported Two White Feather's efforts to manage symptoms of mental health and addictive behaviours resulting from colonial oppression and multi-generational trauma. Much like his Father, Issac has a particular interest in working with his hands and building with wood. Lori fondly remembers times in her childhood spent with her Grandmother, making dolls with dried apples or embroidering table cloths with blessings left behind by those who gathered together during holiday meals each year. From her work as a Counsellor / Advocate and Soul Worker / Circle Facilitator, she knows the healing value of creative expression. On The Creator's Shelf, you will find items infused with spirit from Indigenous and Wise Woman (Goddess) traditions. We respectfully seek a lot of our supplies from the natural world and let Mother Earth be our guide. We then come together to breathe life into the creation and to share the meaning or teachings that accompany it, either on paper or in one of our Crafting With A Conscience Workshops. Custom work will always be considered as we believe, 'one of a kind is the best find'! We love to showcase other artists who use their medium in healing ways. And we believe in giving back to community. We contribute what we can of the craft sales to support the build efforts of A Womb With a View; our peer support, land based healing space that will offer crisis intervention, programming, respite for First Nations youth and/or their caregivers while they are on the Red Road to recovery.

"Making art is like giving a gift; evidence of your spirit and that you are here." -- Patty Mitchell

Please note:

Shipping within the U.S. & Canada is included in the purchase price. Sales tax and an additional 4% + $2.00 per item will be applied to the entire transaction to cover taxes, credit card processing, and other fees.