Award Category: First Nations Art Award

Gus Cook is a respected repoussé and chasing artist from the Namgis community, which is part of Kwakwaka’wakw nation. Repoussé and chasing are ancient techniques which involve forms of sculpting 3-D pieces out of flat sheet metal by hammering both sides of the metal. From a young age, Gus was encouraged by his mother and father to work hard, be proud and take care of his surroundings. Mentored closely by his brother and fellow artist Rande Cook, Gus has combined skill and artistry with his work ethic, to create beautiful jewellery, frontlets, rattles, spoons and plates.

Tsm’syen artist Wii Gwinaalth, (Henry Green), has an extensive record of multi-disciplinary practices in a variety of mediums and has been involved in local and international exhibitions. Henry’s art embodies a spiritual process and his work is guided by blending Tsm’syen mythology with historical, ideological and modern references. He credits Haida artists Freda Diesing and her nephew, Don Yeomans, for stimulating his interest in the arts and in woodcarving. Henry’s artistic practice includes the training of over 400 apprentices and mentoring many young artists, therefore ensuring the continuance of Tsm’syen cultural knowledge and traditions for future generations.

Coast Salish artist, Maynard Johnny Jr., has been drawing portraits of his family and replicating comics since early childhood. His exploration of First Nations Art began at age 17 when he designed and created his first painting on a seven-foot by three-foot door skin panel. Primarily self-taught, Maynard has been influenced by accomplished artists and has expanded his reach significantly, designing logo and identity pieces for organizations, movie sets and television series. An internationally recognized artist, Maynard’s work continues to share the beauty of Coast Salish art through graphic painting, wood, glass, large metal sculptures and precious metals.

A member of the Neskonlith First Nation, Doreen learned traditional beading from her grandmother. Her mother was also an intricate bead artist who taught Doreen that she should learn to bead well so she could use her work, when necessary, to provide for her family. Now Doreen beads for her love of the art, carrying on the legacy of her traditions with future generations. Doreen is the sixth child of Grand Chief Dr. George Manuel and spiritual leader Marceline Manuel and comes from a long line of Indigenous oral historians and storytellers.

The recipient of this year’s Crabtree McLennan Emerging Artist Award, Michelle Stoney incorporates the traditions of her two distinct First Nations cultures: form line from her Gitxsan heritage and bright colours with black outlines from her Cree heritage. Recently painted murals in her hometown of Hazleton, as well as in Terrace and Vancouver reflect Michelle’s innovative painting style as well as her goal to create unique First Nations art. In addition, Michelle has been learning the fundamentals of jewelry-making from established artists and contributing positively to the future of First Nations Art.

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.

Bradley Hunt is a Heiltsuk artist from Waglisla (Bella Bella). He is a member of the Eagle Clan, through his late mother Annie Hunt. Bradley attended the Vancouver School of Art for two years before transferring to UBC to complete his degree. He is a self-taught Heiltsuk artist creating deeply carved sculptural totem poles, panels and masks with a strong focus on creativity, and craftsmanship. Bradley is a natural teacher who has mentored his sons Shawn and Dean as well as his cousin Bracken Hanuse-Corlett and Mi’kmaq artist Jordan Bennett. One of Bradley’s core philosophies as a teacher is that he believes that the student must learn the principles of the traditional art form before they try to push the boundaries and create their own personal style. His attention to detail and his innovation within the art form has brought Bradley recognition for his work and it is collected both nationally as well as internationally. Bradley continues to carve every day with his two sons in Sechelt BC on the Sunshine Coast.

Carrielynn Victor, (Stó:lö, Coast Salish & Mixed Western European Heritage) from the community, XwChí:yóm (Cheam), is a gifted artist. Her paintings and murals reflect her belief of her role as a defender of the earth. Carrielynn lives a holistic lifestyle that feeds her creative processes and results in vivid colours and geometric designs raising a refreshing new genre of Indigenous art. An artist, fisher, plant harvester and medicines practitioner, Carrielynn’s work fuses ancestral knowledge and a deep connection to her culture with contemporary techniques and styles. Her practice considers spirit and sexuality, community, interconnectedness, land, and sustainability. She shares stories of her own as well as stories that provide snapshots of Stó:lō history and world views. Carrielynn is based in Cheam, her father’s family’s ancestral village on the banks of the Lower Fraser River.

Kelsey Hall (KC) of Bella Bella, in Heiltsuk Nation territory on the central coast of BC, belongs to the House of Wakas and descends from noted Heiltsuk artist Chief Robert Bell. His artistic practice stems from handwriting, lettering and graffiti skills developed in high school. Mentored and influenced by many BC First Nations artists, KC has collaborated with local artists on many projects, including murals for Granville Island’s newest public space. He has been commissioned for art that demonstrate his knowledge of traditional First Nations craft, creating a mural for the UBC Museum of Anthropology, and co-designing a Spirit Blanket that was presented to Prince William and the Duchess of Cambridge during their visit to Bella Bella. KC’s art is modernist with traditional roots. His work arises out of the tension between ancient First Nations skills and traditions and the urban digital world he now inhabits. The skill with which KC navigates this rift shows in his use of formline to create habitat for traditional figures with a distinctively modern/Manga twist.

KC was selected by the independent jury as the 2018 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.

Nakkita Trimble has been instrumental in the re-claiming of Nisga’a tattooing methods of skin stitching and hand poking – techniques her ancestors would have used. Her tattoo apprenticeship began in 2011 in a tattoo shop where she learned on a coil machine, eventually using a rotary. Now Nakkita practices freestyle tattooing done with needle and ink. Nakkita’s first exhibit was a solo-exhibit at the Nisga’a Museum in Grenville, British Columbia in 2014. The exhibit featured the oral history of Nisga’a Tattooing prior to contact. The oral history was passed down from Freda Morven and the Council of Elders comprised of some Matriarchs and Chiefs of the four main villages in the Nass Valley. The exhibit featured the first modern recorded oral statement of Nisga’a Tattooing practices, techniques, and ceremonies. Nakkita is currently exhibiting her art form at the Bill Reid Gallery. Nakkita’s tattoos connect generations, helping individuals reconnect with their identity while developing pride and curiosity for their family histories, stories and traditions. With her intuitive understanding and practiced skill in tattooing, Nakkita’s work has been featured widely in public presentations, radio and print publications.