Arts Commons Presents
+15 Window Galleries
Making Treaty 7 Cultural Society’s 2nd Annual Indigenous Art Exhibition
Some of the works on exhibit are listed for sale. Please contact Miriam Fabijan at firstname.lastname@example.org if you are interested in purchasing any of the work. All proceeds from the sale of the artwork will go to the artist.
Location: +15 Window Galleries
Dates: October 4, 2019 - January 19, 2020
Autumn Whiteway (“Night Singing Woman”) is a Métis/Saulteaux visual artist and traditional craftworker. As an archaeologist, she has always been curious about the material culture produced by her ancestors, in addition to traditional knowledge passed down through the generations. This curiosity led her on a path of discovery, to learn traditional indigenous crafts such as drum and rattle making, moose and caribou hair tufting, fish scale art, porcupine quillwork, beadwork, dreamcatchers and jewelry. Inspired by artists such as Norval Morrisseau and Kent Monkman, she additionally explores indigenous themes from a contemporary perspective through painting and photography.
Proudly from the Kainai Nation, grew up in Sturgeon County, AB. and residing in Amiskwacîwâskahikan (Edmonton). English name is Candace Gladue and traditional given name is Áísínai'pi (It is pictured/written), Writing On Stone. Currently a student at the University of Alberta in pursuing the dream of being a Teacher and Facilitator of a Forest School and Cultural Connections Elementary Program. An Educator, Artist, Advocate and Poet. Strongly advocates the rights of all Indigenous children and youth in care to have a voice and rights to their own culture. This includes, having access to tools, resources and relationships to their cultural ties.
Growing up, Áísínai'pi has been creating art and took up numerous creative forms in expressing herself. This includes, singing in choir, doing theatrical musicals, drawing, painting, and writing. After graduating high school (2013), Áísínai'pi pursued an education in Early Learning and Child Care at MacEwan University. After Graduating (2018), Áísínai'pi decided to pursue an Education degree at the University of Alberta in Edmonton, Alberta. It wasn't until meeting like-minded people, Áísínai'pi began really partaking and showcasing her artistic abilities. As of January 2019 to present, Áísínai'pi has actively been involved in her community. Which includes, the startup of the, Edmonton Indigenous Poets Society and volunteering her time for activism and grassroot organizations.
Currently, Áísínai'pi’s time is being spent creating art, writing poetry, learning her language and thinking of other ways to organize community events, to provide celebration of Indigenous resilience and envision a decolonial future together.
Christopher Big Plume
Be it sculpturing, painting or even digital/graphic artwork I have always strived to be known as a “well rounded” artist. Throughout my early studies in art history I found that many of the Masters were not restricted to one medium. Michelangelo sculpted drew and painted; Leonardo was not only an accomplished artist but a celebrated inventor as well.
Being of Native descent I have always found that others expectations for my art would have “pigeon holed” me into the “Native Artist” category. Though I love and respect my Native origins, I have found that by labeling an artist you restrict the audience’s expectations of their artwork. Growing up, along with many of my family and friends, I had to deal with racism on a daily basis. Through art I found a vocation that would allow me to express my inner self outside of my cultural restrictions. I would like to be known and remembered as an artist who is/was Native, and not as a Native artist.
Hali Heavy Shield
Nato’yi’kina’soyi (Holy Light that Shines Bright); Hali Heavy Shield is a member of the Blood Tribe of Southern Alberta. Hali Heavy Shield is interested in various representations of literacy and language, specifically those that blend traditional Blackfoot teachings and contemporary methods of art making. Experimenting with mixed media art, poetry, and photography, she navigates the often difficult and personal understandings of intergenerational trauma and social injustices that many Indigenous communities experience, but particularly in Blackfoot country. Heavy Shield draws upon concepts of home, family, and laughter to seek balance and re/learn Blackfoot language, history, and philosophy as a means of honouring life, her Blackfoot ancestry, and Indigenous women.
My name is Jackson Eiteneier. I'm 13 years old and proudly have my Metis status. Born & raised in Calgary, I love both sports & video games. Recently, I went from competitive tier 1 soccer to sketching my favorite superheroes and monsters. With the encouragement and support of my parents, I decided to further explore the artistic side of my brain. :) I am now learning how to apply various oil painting techniques under the guidance of Bany Declair, owner of the Emerald Fine Arts Gallery located in Eau Claire Market.
Keegan Starlight is an Indigenous artist from the Tsuut’ina Nation. He has been making art for 20 years, and has been a professional artist for the past 10 years. Keegan has worked in many mediums over his career, including pencil/graphite, ink, watercolor, acrylic, and oil paint, silversmithing and sculpting, but his preferred medium is painting. His paintings have been recognized nation-wide, and his work has been shown internationally, including in Berlin and Australia. Keegan’s work has been exhibited in the Calgary Stampede Arts and Western Showcase for two years in a row, and he has also shown in numerous Calgary galleries such as the Esker, Arts Commons, St. Mary’s University Gallery, and also cSpace. Keegan has recently worked in collaboration with the new Calgary Public Library, and was commissioned to produce an original mural for its new Central Public Library alongside two other premier artists from the Treaty 7 Region.
Keegan’s work has been heavily influenced by his own Dene culture and traditional upbringing. His wife and three children also play an integral role in the quality and subject matter of his works. Keegan has been working with the human form (portraits) for most of his career and has now ventured into animal subject matter, using both acrylic and oil paint.
Keegan continues to work in his home studio to create original artworks, and looks forward to continuing his visual exploration
My art reflects âtayôhkan- spirit guides or animals. Drawing from inspirational people in my life, and the teachings of various animals, I create paintings that represent a loved one’s essence. The thing that I love about my art is that everyone sees something different. Animals remind us of people, and I am happy that my art can create emotions and remembrance to others. My pieces have movement and are meant to feel alive, just like the spirit animal reflected in each painting. I like to work with vibrant colors, symbolizing cîpiyak nîmehitowak- the northern lights (spirits dancing in the sky). With my art, I hope to bring back the stories and language of my people that have been forgotten. Every animal tells a story and when I paint them, their stories come alive again.
Mackenzie’s art has been featured at the Pump House Gallery 2017, recognized in the Alberta Indian Arts and Crafts award of 2017, featured for the Alberta Business Competition 2017 and sold to people travelling world-wide at Jasper Park Lodge. She has also completed mural paintings for Holy Redeemer High School, Jasper High School (interactive mural painting), and Vanier Elementary High School.
My name is Michelle Soto. I am a proud First Nation woman living in Alberta, Canada. My journey as an artist began with my paternal grandmother, Evelyn Soto. Since a very early age my grandmother taught not only the spiritual and cultural practices but she also taught traditional smoked hide making, moccasins making, fishing, and lastly, traditional living practices. In 2010, artist became the recipient for Alberta Foundation for the Arts traditional arts grant. From 2012-2015, had obtained Northern Lakes College Social Work Diploma. In 2016, completed Alberta Government Level 2 childcare worker certificate. Currently, artwork has consisted of pow wow beadwork, sewing of First Nation ceremonial wear, pow wow dancing, acrylic painting, oil pastels, color pencils, and permanent markers. Early influences artistic influence began with Dene Tha beadwork; Woodland Cree beadwork; research of historical outer wear of Canadian indengious people; historical residential schools trauma; inner city graffiti; and spiritual/cultural practices of Alberta’s First Nation people. Artist's extensive research has been in traditional Alberta plant usage, traditional living practices, hunting, fishing, and trapping. Developing a deeper understanding as to the many other distinct methods of artworks occurring naturally in Alberta First Nations people is often mistreated with historical deletion thru colonialism and residential school’s school genocidal effects. As a proud Dene Tha/Cree woman, all of artist’s artwork represents deep internal healing. Both parents are residential school survivors. Artwork has helped overcome constant loss, breakdown of communities, provided confidence, and helped provide structure in continuing both professional/ academic life goals.
Lately my work has begun to explore identity; of particular interest is my Anishinaabe heritage. Like many Canadian families, this is complex and fraught with embedded societal racism, fear of Residential schools and broken ties with our cultural roots. As my father has made his own journey of making peace with these issues, a world has been opening up as he shares the past.
Issues of cultural appropriation have been forefront in my mind, I’ve been wary of taking bits and pieces of a culture I wasn’t raised in to forge my artistic identity. Approaching this painting, I thought about how to best represent the place that I am coming from. Basing my source imagery on European settler representations of First Nations peoples was a way to not only share a lot of my early understanding of my family history, but also an act of re-appropriation. In my piece, Reconciling Myself, the source is from a 1910 postcard entitled “Indian Woman with Owl, Blind River”, which is the town where my father was born. This woman looks familiar to me, the slope of her nose and cheeks are the same that greet me in the mirror. In the photo, she seems unhappy and the owl looks to be a piece of taxidermy. I took liberties in my painting; she is serious, not sad. The owl is spreading it’s wings. In the background is a riot of colour and dynamic lines, a sign of life and the future.
BuffaloBoy, TravelingRock, Kind hearted Man, of the Tsuut’ina, Sarcee Dene Nation. Artist, Illustrator, Powwow Dancer, Yellow Hand, Stick Man & Protector.
Nathan Meguinis is a member of the Tsuut’ina Nation who started drawing at a very young age. Heavily influenced by his family and community, Nathan wa first encouraged to draw by his parents. His grandparents taught him to value and understand his traditional First Nations culture, which has helped him shape his style of artwork opening new doors to this First Nations artist. He chosen mediums are mainly ink, pencils, colour pencils and paint, and he has created over 14 Art Logos for his Nation.
I am third generation carver born and raised in Tuktoyaktuk NWT, now residing in Irricana AB as full time Mom and Artist. I am very passionate about teaching my daughters and public about my life, how and where I grew up. Tuktoyaktuk was a very remote town and learning how to live out there was not only a challenge but very important to learn our culture. It is also very important to me that I keep my carving talent going in my family. My Daduck’s (Grandpa) Legacy is very rich in traditional carving and I am very passionate about keeping it alive. I do more multi medium carvings, more so with antlers and soapstone to make a traditional hunting scenery's. I really like how they complement each other and how they show what the different pieces are and can be.
I began carving when I was 6 years old. My grandfather (Tillamook) then taught me to make all of the traditional tools needed to represent his and other many stories in wood.
I teach Westcoast tool making and carving across Canada and at the John Campbell Folk School in North Carolina. I join with other Westcoast carvers and teach classes at the Carving on the Edge Festival in Tofino. And run Sunday afternoon classes in my shop from October to March.
I believe that by involving others in my classes that I am able to create an Awareness then an Appreciation and finally a Respect for indigenous culture as well as the natural world around all of us and all our relations.
I am a self-taught Métis Artist and Music Teacher living in Brooks Alberta.
My work consists of pen-(Pointillism), Oil and Acrylic on subjects of animals, landscapes and portraits with much of it coming from commissions. Most of the past work is considered realism and detailed but my style has changed quite a bit as my vision is declining. The reality now faced with is a type of freedom that I have not tried before, the freedom of colour, forms and lines. It is absolutely refreshing not to be tied to too much detail as used previously.
The pieces I’ve been working on are subjects that have touched my familiy lives.
Stephanie One Spot
My name is Stephanie One Spot. I am Dene and from Sarcee (Tsuu T’ina). I found myself pursuing Art to help share my unique vision of my culture. With my love of storytelling and investigating what it means to being Dene, I realized that this will not only take me my lifetime to accomplish, but can be an important piece of this puzzle for future generations as well. I love animating photographs and having narration in my work. Working with nature as my muse, I seem to find my culture through every frame I capture. My Art to me is my Culture. With every picture, story and person I talk to, I try to create what I see and share it with my audiences.
Siyisgaas. (Thank you)
My name is Tamara Eaker and I am an Ojibwe/Cree Metis beginner artist. My mother hails from the Long Plain Band and my father from Little Saskatchewan, both in Manitoba. I have however, lived in Calgary all my life.
I work manly with miniature canvases and acrylic paints. I began painting the summer of 2018 and my work is wholly inspired by the majesty of nature, aspects of traditional knowledge, and practices. My goal is to share my love and respect for the beauty of the country we live in and all the gifts mother earth has given us.
I also am working hard to support the Canadian Mental Health Association in providing peoples like myself and my relatives who have been touched by trauma and who struggle with mental wellness issues and barriers. I donate 5% of proceeds I make back to the Canadian Mental Health Association of Calgary.
Tania Big Plume
My name is Tania Big Plume of the Cree, Tsuu T’ina, and Cayuga of the Turtle Clan. I have resided on a Native Reservation my whole life and that is where my art started. In 1976 I began by observing my grandmother’s beadwork; in 1984 I began my traditional training with my elders, my teachers. I’ve studied all the traditional techniques made available to me over the last 35 years and have incorporated those into my paintings. By entering a new medium with my bead/artwork I hope to further share my elder’s teachings with a much larger audience as well as inspire a new generation of artists to go beyond their artistic borders.
Theresa Beebe has worked as a self-taught artist for over 27 years. Her professional qualification include, classes in computer skills, financial management and entrepreneurship for The Lethbridge College, and Blood Tribe Ecomonic Development. Theresa also graduated with honours, in the Niitsitapi Education Assistant Program, that gave her a set of skills in the promotion of the Niitsitapi Way of Life; especially in regards to children who may have exceptionality. She has a great interest in teaching art to both adults and children. This includes her daughter and granddaughter. Beebe volunteered as the main instructor for over ten years in the Blood Tribe Powwow Club where she taught beading and sewing powwow regalia.
Theresa Beebe’s main source of inspiration is the Grandmothers and Grandfathers that have had the knowledge and resiliency to keep our way of life despite all the hardships. Since the beginning of her artistic career, Theresa has built a solid reputation in providing high quality Native jewelry and powwow regalia to cliental of her business BLACKFOOT ELEGANCE. Several pieces have been bought world-wide in which she is particularly proud of, since it advertises the Niitsitapi culture globally. Her strong business reputation, puts her artistic creation in demand. The main motivation of Theresa Beebe is to participate in this promotion through her artwork of Blackfoot culture.
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