Award Category: First Nations Art Award

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.

Stephanie Anderson, a member of the Likhsilyu “Small Frog” clan of the Witsuwit’en Nation, has ancestral ties to Kwin Begh Yikh, the “House beside the Fire”. Living on Tsimshian territory in Terrace, BC, she began her fine arts education in 2009 at the Freda Diesing School of Northwest Coast Art, studying under master carver Ken McNeil. After  returning to the school to teach from 2020 to 2023, she has continued her studio practice in Terrace, BC.

Her first totem pole, Holding Our Children Close, was raised in 2021, inspired by the discovery of missing children at Kamloops Residential School. Stephanie also curated Northern Indigenous Perspectives at the Smithers Art Gallery and served on the Skeena Salmon Arts Society board. Through projects like the mural At the Heart, she honours Indigenous culture and lost lives, contributing to public art and reconciliation in her community.

Xwalacktun is an internationally renowned artist with roots in the Skwxwú7mesh Úxwumixw (Squamish Nation) and Kwakwaka’wakw Nation (Alert Bay). His remarkable artistic career spans over 40 years, encompassing a wide range of mediums, from public art and sculpture to metalwork, jewelry, glasswork, drawing, printmaking, and his renowned wood carving. He seamlessly blends traditional Salish forms with contemporary expressions, a hallmark of his distinctive style.

His art has captivated collectors worldwide and graced exhibitions both locally and internationally. Xwalacktun’s creative journey began with a degree in sculpture from Emily Carr University of Art and Design. Xwalacktun has shared his talent in Scotland, promoting its totem pole project and demonstrating his carving techniques in several Scottish communities. He is an artist, an educator and a mentor whose practice nurtures many apprentices, including his sons.

He played a pivotal role in preserving Salish culture as a contributing artist for Simon Fraser University’s 2009 “A Journey into Time Immemorial.”

Xwalacktun’s artistic legacy is interwoven with his community involvement, attending local events, and offering cultural greetings. His numerous accolades include his 2022 Honorary Doctorate from Emily Carr University, the 2016 First Nations Art Award, and the 2012 Order of BC. His art adorns public spaces across Canada and internationally, showcasing his ability to seamlessly blend tradition with modernity.

Shawna Kiesman, an emerging artist from Victoria, is a testament to dedication and innovation in her craft. With a diverse heritage, including Ts’msyen, Nisga’a and Haida/German roots, Shawna’s artistic journey began at the Freda Diesing School of Northwest Coast Arts and continued at Emily Carr University of Art + Design, earning a Bachelor of Fine Arts and supported by awards like the Audain Entrance Scholarship and BC Arts Council Scholarship.

As an emerging artist, Shawna’s post-graduation career is thriving, marked by grants and residencies, including the RBC Audain Museum Emerging Artist Program. Permanent collections such as the Nisga’a Museum and Coast Mountain College house and celebrate her work. Each piece is a means of cultural exploration and identity reclamation that delves into her Indigenous heritage. Shawna’s diverse portfolio includes digital art, textiles, drawing, and painting, and is known for its modernized take on everyday items. As a First Nations artist, she seeks to understand her ancestral culture and its complexities while ensuring its continuance and legacy.

Shawna was selected by the independent jury as the 2023 Crabtree McLennan Emerging Artist.

The Crabtree McLennan Emerging Artist designation was established in 2019. Named in honour of Brenda Crabtree, former Director, Aboriginal Programs, and Special Advisor to the President on Indigenous Initiatives, 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.

Klatle-bhi, a master carver, is celebrated for his exquisite red cedar masks and a diverse portfolio which encompasses panels and totem poles. With over three decades of experience, his carving has evolved, driven by a deep commitment to ancestral spirituality and culture. Klatle-bhi’s distinctive style seeks the pinnacle of craftsmanship and artistry. His roots in Squamish and Kwakwaka’wakw cultures are integral to his life, as he strives to preserve languages, dances, and songs.

A supporter of passing on traditions, Klatle-bhi not only creates art but also mentors the next generation of artists. His collaborations with Collingwood School in West Vancouver have produced meaningful totem poles representing academic, athletic, service, and artistic excellence.

Klatle-bhi’s contributions extend beyond the studio; he has sung, danced, spoken, and shared his art at numerous gatherings and potlatches. His works are displayed in the Museum of Arts and Design in New York City and the Burke Memorial Museum of Natural History in Seattle.

Musqueam artist Brent Sparrow developed his practice and artistry through apprenticeships with his mother, Susan A. Point, and John Livingston, adopted Kwakwaka’wakw artist and master carver. Collaborating with his mother, Brent played a pivotal role in creating and installing public art, gracing institutions like the Seattle Art Museum, City of Vancouver, City of Richmond, and Seattle Children’s Hospital.

Beyond these collaborative ventures, Brent’s portfolio boasts nearly two dozen large-scale public artworks, spanning bronze, glass, and cedar, while his private works grace collections and galleries. His art deeply roots itself in his Coast Salish heritage, respecting ancestral legacies and contributing to cultural preservation.

Educated at BCIT, he holds a provincial “B” Red Seal in welding, adding a necessary skill to his artistic tool kit. Recent achievements include the installation of cast bronze public art at the UBC Bus Exchange, symbolizing a warm Musqueam welcome to the UBC Vancouver campus.