Award Category: First Nations Art Award

Kari Morgan, of Nisga’a (House of Kw’isk’ayn), European, and Métis heritage, is a sculptor, painter, and designer whose multidisciplinary practice bridges tradition and innovation. Born in Prince Rupert and trained at the Freda Diesing School of Northwest Coast Art under master carvers Dempsey Bob, Stan Bevan, and Ken McNeil, Kari’s work explores the tension between contemporary expression and traditional form. 

Kari believes traditional art is more than a visual language for the people of the Northwest, she believes it is medicine for the soul. Her practice honours ancestral knowledge and aims to display the strengths of her culture and people to entice a positive narrative change. 

Through exhibitions across BC and the Pacific Northwest, Kari uplifts Indigenous voices and invites new ways of seeing. Her commitment to cultural strength and creative exploration marks her as a powerful emerging force in the art world. 

Kari was selected by the independent jury as the 2025 Crabtree McLennan Emerging Artist.

The Crabtree McLennan Emerging Artist designation was established in 2016. Named in honour of Brenda Crabtree, Director, Aboriginal Programs, Emily Carr University and the late Bill McLennan (1948-2020), Curator Emeritus, UBC Museum of Anthropology, this recognition aims to highlight and support emerging talent.

Rebecca Baker-Grenier, of Kwakiuł, Dzawada’enuxw, and Sḵwx̱wú7mesh ancestry, is a fashion designer whose work carries deep ancestral connection and cultural strength. A regalia designer since age eleven, Rebecca has created pow-wow and performance regalia for her family and for the Dancers of Damelahamid, with her designs featured on national and international stages since 2016. 

Holding a BA in Indigenous Studies from UBC, Rebecca began her fashion design journey in 2021, apprenticing under Himikalas Pam Baker and completing the Indigenous Couture Residency at Banff Centre. Her collections have since appeared at New York Fashion Week, SWAIA Santa Fe, Indigenous Fashion Arts Toronto, and Vancouver Indigenous Fashion Week. 

Her garments have been worn on red carpets and featured in Vogue, Elle Canada, and museum exhibitions, and are known for their elegance, cultural grounding, and refined detail. Through her work, Rebecca offers bold, beautiful reflections of Indigenous resilience, pride, and creativity. 

Lawrence Paul Yuxweluptun Lets’lo:tseltun, of Cowichan (Hul’q’umi’num Coast Salish) and Okanagan (Syilx) descent, is one of Canada’s most influential and unflinching contemporary artists. For over four decades, Lawrence has used painting, installation, and performance to challenge colonial narratives, confront systemic injustices, and assert Indigenous sovereignty. His work is both politically charged and artistically groundbreaking—often combining traditional Coast Salish aesthetics with surrealist and pop art influences to powerful effect. 

Living and working on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples, Lawrence has exhibited globally, including at the Tate Modern, the Vancouver Art Gallery, and the National Gallery of Canada.  

In 2016, the Museum of Anthropology at the University of British Columbia mounted a major 30-year survey of his work, titled Unceded Territories, cementing his status as a critical voice in Indigenous and contemporary art. Lawrence’s art demands engagement, calling viewers to reckon with truth, history, and the future of this land. 

Tseshaht and Nuu-chah-nulth artist Gordon Dick’s creativity and skill advance the visual language of Nuu-chah-nulth art. Inspired by the ceremonial artistry of his grandparents and family Potlatches, Gordon began creating as a young man, initially teaching himself jewellery engraving after watching Kwakwaka’wakw artist Dennis Matilpi at work. His practice has since grown to include masks, panels, totem poles, bronzes, and carvings that reflect his cultural heritage with precision, humility, and beauty. 

Deeply rooted in community and tradition, Gordon carries forward the legacy of celebrated artists like Art Thompson, Joe David, and Tim Paul—mentors and peers who recognized his commitment and craftsmanship. Whether crafting a wedding ring or a monumental memorial pole, Gordon’s work radiates care, balance, and meaning. 

Through Ahtsik Native Art Gallery, his studio and carving space in Tseshaht territory, Gordon shares knowledge and welcomes the public into a living dialogue with Nuu-chah-nulth culture, strength, and story. 

James Hart, a renowned Haida artist, carver, and Hereditary Chief from Haida Gwaii, was born into the Eagle Clan in 1952. His artistic journey began as an apprentice to the legendary Haida artist Bill Reid, where he honed his skills in carving, sculpture, and jewellery-making.

Rooted in Haida traditions, James’ work explores themes of cultural heritage, spirituality, and the natural world. His monumental totem poles, masks, and sculptures are celebrated for their intricate designs and storytelling, blending traditional Haida art with contemporary perspectives.

Adept in carving, jewellery, and printmaking, James works with silver, gold, and bronze. He is best known for his totem poles, such as The Three Watchmen in Ottawa, housed in collections worldwide. Other significant works include Frog Constellation at Simon Fraser University, restoring an old Haida pole for the Smithsonian in New York, overseeing the construction of the Haida House at the Canadian Museum of History, the carved wall, The Scream Too which stands in the Audain Art Museum in Whistler, BC, and carving the Reconciliation Pole: Honouring a Time Before, During, and After Canada’s Indian Residential Schools, raised at UBC in 2017.

Beyond his artistry, James is deeply committed to preserving Haida culture and environmental stewardship, making him a respected leader in both the artistic and Indigenous communities.

His achievements have been widely recognized, including receiving the Order of British Columbia in 2003, the Order of Canada in 2023, and honorary doctorates from Simon Fraser University and Emily Carr University of Art + Design. James’ contributions have elevated Haida art on the global stage while playing a crucial role in revitalizing and preserving Haida culture for future generations.

Andy Everson, member of the K’ómoks First Nation with Kwakwa̱ka̱’wakw and Tlingit ancestry, is deeply rooted in his culture, actively participating in traditional potlatch ceremonies as a hereditary chief, singer and dancer. Immersed in art from a young age, Andy’s artistic journey began with repainting Mungo Martin’s totem poles, where he was introduced to formline design. His creation of chilkat-style blankets for traditional dance sparked a passion that led to a career spanning over 26 years.

A highly influential figure in Northwest Coast art, Andy skillfully blends ancestral styles with vibrant colours, pop culture, and contemporary themes, engaging new audiences and fostering cultural understanding. His art often serves as a voice for social movements like Idle No More and Every Child Matters. Known for his limited-edition prints and innovative use of media, Andy has also designed coins for the Royal Canadian Mint and explores fashion through Totem Design House, bridging tradition and modernity with profound impact.

Kelly Cannell has been immersed in art from a young age, working alongside her mother, renowned artist, Susan Point. Starting at just 12, she learned the traditional and contemporary imagery of the Musqueam people, mastering the art of storytelling through her work. Kelly continuously explores and pushes the boundaries of Coast Salish and Musqueam art, blending traditional forms with non-traditional materials and scales.

Her unique pieces are highly sought after, featured in private, corporate, and public collections around the world, including across Metro Vancouver. Beyond her artistic achievements, Kelly is deeply committed to philanthropy, generously donating her time and artwork to support environmental and other causes. With a passion for environmental awareness and the connection between all life forms, she uses Coast Salish visual language to honour her ancestors’ teachings and inspire future generations.