yəhaw̓, on view at ARTS at King Street Station March 23 to Aug. 3, 2019,
highlights contemporary Indigenous creatives
Opening celebration Saturday, March 23, 2019, noon – 7 p.m.
Admission is free
SEATTLE, Jan. 31, 2019 – An exciting new arts and cultural hub opens in Seattle on March 23, 2019, when ARTS at King Street Station debuts with the dynamic exhibition yəhaw̓, which presents some 200 works showcasing contemporary Indigenous creatives.
ARTS at King Street Station was conceived as an innovative, community-powered arts and cultural hub that encompasses art, artists and culture through the lens of racial equity. The exhibition space provides a holistic view of art and the people who make, consume and live it. Informed by an extensive community input process, ARTS at King Street Station was conceived to reflect the creativity and talents of people that continue to create the fabric of Seattle.
On view through Aug. 3, 2019, the inaugural exhibition yəhaw̓ (pronounced yee-hout) will open ARTS at King Street Station, an historic space now dedicated to increasing opportunities for communities of color to present work. “It is fitting that we inaugurate the space with a nod to the incredible artistry of the Coast Salish peoples, on whose land the City of Seattle is built,” says Randy Engstrom, director of the Office of Arts & Culture (ARTS).
The exhibition title yəhaw̓ is drawn from the Coast Salish story that tells of Native people from all tribes uniting around a common cause and lifting up the sky together. Appropriately, yəhaw̓ reflects a nuanced, inclusive narrative that firmly establishes Native creatives as belonging in the here and now. Prior to the culminating exhibition that opens March 23, yəhaw̓ has encompassed satellite installations throughout the region, performances, artist-in-residence, a publication, art markets, in an expansive, yearlong project.
All Indigenous creatives living in the Puget Sound region were invited to participate in the yəhaw̓ project, and all who applied had the opportunity to have their work represented in the programming. Conceived and curated by Tracy Rector (Choctaw/Seminole), Asia Tail (Cherokee Nation) and Satpreet Kahlon, the resulting yəhaw̓ project features the work of some 200 creators of all backgrounds and experience, in disciplines including sculpture, photography, design, printmaking, woodworking, film, metalwork, glass and textiles.
Several artists were commissioned for site-specific artworks, including Chai Adera, Natalie Ball, Demian DinéYazhi´, Malynn Foster, Sara Siestreem, Adam Sings in the Timber, Timothy White Eagle, Christine Babic and more. In addition, 10 emerging artists, such as Priscilla Dobler, Randi Purser and Asa Wright were selected to participate in a mentorship program, receiving artistic guidance from established Native artists.
The new ARTS at King Street Station space responds directly to feedback from community focus groups with an emphasis on people of color. Located on the third floor of the 123-year-old train station, the 17,500 square-foot cultural hub was designed by Schacht Aslani to provide flexible, co-use areas for community gathering in addition to professional office and gallery space. The design contains a large multi-disciplinary arts presentation gallery, a public “living room” lobby, a multi-use conference room for large meetings and public presentations, an artist-in-residence space, offices and meeting rooms. In the presentation space kinetic gallery walls designed by Olson Kundig enable community and artists to reconfigure the displays as needed for changing exhibitions and events. Throughout, new architectural interventions emphasize transparency, highlighting and revealing historic elements of the original building such as the historic masonry and steel structural system, ornamental stairway and original terrazzo floor. ARTS at King Street Station is located at 303 S. Jackson St., third floor, Seattle, WA 98104. Open Tuesday – Saturday,
10 am – 6 pm, and First Thursdays, 10 am – 8 pm. Admission is free.
By Kalvin Valdillez, Tulalip News
Families traveled from near and far to celebrate Indigenous culture and Christmastime at the 5th annual Tulalip Tribes and Marysville School District (MSD) Indian Education Christmas Powwow. On the evening of December 15, the Francy J. Sheldon Gymnasium was at capacity and rocking as local Veterans kicked off the ceremony, leading the way during grand entry.
Dancers draped in beautiful regalia, that showcased their beading and seaming talents, competed in a number of categories including fancy shawl, jingle and traditional dances. The crowd was highly interactive, cheering on their loved ones as they hit the floor to honor the traditions of their ancestors. Babies to elders engaged throughout the entire evening, dancing in circles around the gym to hypnotic drum beats provided by five drum circles.
“It started five years ago through the MSD and the Tulalip Tribes,” explained Deborah Parker, MSD Director of Equity, Diversity and Indigenous Education. “Our Native American liaisons wanted to provide a little holiday cheer because sometimes it can be a difficult time of year for some families. So we wanted to do a powwow, bring the drums out and let everybody have a good time to remind us that the holidays are about families coming together and about us loving and uplifting each other.”
Across campus, at Marysville Mountain View Arts and Technology High School, Santa Clause paid a visit to drop off gifts donated by Toys for Tots, as well as a handful of community members. While Ol’ Saint Nick stuck around for a bit to take photos with the families, the kids checked out all of the toys and got to pick one present each, choosing from a selection of stuffed animals, Hot Wheels and books.
“Little kids look forward to this all year. They’re always asking, when’s the next Santa powwow,” said Deborah. “This year we served 1,100 plates of roast, mashed potatoes and corn. We had about forty plus dancers, five drums and we gave out close to 1,000 toys. The kids were super excited, even before we opened the doors, we had a huge lineup. Every kid gets a toy and they get to pick their own toy, so that’s special. We had Santa pictures and lots of vendors, it’s kind of a festival type atmosphere. Everybody’s laughing, hugging and sharing good words with each other and that’s the spirit of what we came to do.”
By Micheal Rios, Tulalip News
Extravagantly festive Christmas trees and wreaths, each decorated with its own unique theme and style, brightened the Orca Ballroom at the Tulalip Resort Casino during the 33rd annual Festival of Trees.
The week-long celebration kicked off November 27 with Opening Night festivities, continued with the excitement-filled Gala Dinner and Live Auction on November 30, and concluded December 1 with the family friendly Teddy Bear Breakfast.
Each year, thousands of community members take part in the Festival of Trees – including volunteers, sponsors, and attendees – to raise funds for Children’s Services at Providence Regional Medical Center in Everett. For more than three decades, Providence Children’s Center has been providing comprehensive, family-oriented care and highly specialized therapies – such as physical, occupational, speech and feeding therapy – for children with a wide variety of special needs.
“Knowing this is one of the largest charitable events for Snohomish County, it is appropriate for us to host and participate with goodwill and sharing the opportunity to help all children in need,” explained Marilyn Sheldon, manager of Tulalip Tribes Charitable Fund, on the importance of hosting the Festival and being the title sponsor. “We recognize that over 50% of Tulalip’s population is 0-24 years of age and Providence is our local hospital for care most tribal members use for emergency situations and other needs. Also, this event brings many people to our facilities for the week and encourages them to come back and host their own business/charity event at our venue.”
A highlight of the holiday season, the Festival of Trees provides entertainment for countless families and children. Whether it’s a black-tie evening with a three-course dinner or a free afternoon with cookies and Santa, the Festival’s variety of events offer holiday cheer for all kinds of crowds. The stunningly decorated Christmas trees won’t soon be forgotten as their specialized themes like ‘Tiding of Comfort’ and ‘Christmas with Rudolph’ to ‘Escape with Alaskan Wildlife’ and ‘Holiday at Hogwarts’ capture the imagination.
During the elegant Gala Dinner and Live Auction, the dazzling Christmas trees and wreaths were sold to the highest bidders, with proceeds going to Providence Children’s Services. Several of the trees were reserved to be put on display throughout the Children’s Center as a special treat for the kids this holiday season.
“We continue an annual tradition that has raised more than $11 million over the past 33 years for children and families who come to Providence for care,” stated Festival Chairs, Sean and Lisa Kelly. “Funds raised will not only provide critical support for pre-term and at-risk infants, but will also touch the lives of thousands of children in our community, from birth through age 18.”
The generosity of the donors and Festival attendees support Providence in growing and expanding the specialized therapies, equipment and educational classes that do so much to change young lives. All funds raised will support Providence programs and services such as Pediatrics, the Newborn Intensive Care Unit, the Children’s Center, the Autism Center, and Camp Prov, a summer camp for children with special needs.
For nearly two decades, Tulalip Tribes has been an important partner to Providence in the Northwest Washington Region, by helping provide the funding and support needs to care for the health of our growing community. Contributions made by Tulalip to Providence General Foundation since 2002 have totaled more than $700,000. For their dedication to the Festival of Trees, the Tulalip Tribes were honored with the third annual Spirit of Festival Award.
“The lives of thousands of children, that includes Tulalip tribal children, will be helped thanks to the generosity received from the Festival of Trees fundraising efforts,” said Board of Director Mel Sheldon, thirteen-year member of the Providence General Foundation. “We are very fortunate to have a relationship with Providence Medical Center and to support such an amazing opportunity that really looks at the bigger the picture. We all want to do our part to create a sustainable and healthy community.”
One of Snohomish County’s largest and most well attended holiday events, the Festival of Trees has been a beloved community tradition for 33 years. The magical setting and community spirit at the Festival is a wonderful kick-off to the holiday season.
Tulalip, Washington — Move over, Pumpkin! Honey and Spice are shaking things up this holiday season at Tulalip Resort Casino. The Resort’s culinary teams have procured several exotic kinds of honey and spice flavors to showcase in their holiday specials. From seafood to sweets, Executive Chef Perry Mascitti challenged his chefs to examine the complexities of how different kinds of honey and spices can take a dining experience to a new height when done right.
The Honey and Spice promotion will run from November 30 through December 31.
Savory Honey and Spice dishes at the Resort include: Tula Bene Pastaria + Chophouse’s Lavender Honey, Blue, and Bergamot appetizer served with Purple Haze Lavender Honey “caviar,” gorgonzola dolce cheese and a pot of earl gray tea; Blackfish Wild Salmon Grill and Bar’s Honey & Spice Alder Roasted Sockeye Salmon laced with anise, cumin, orange and Skagit Wild Flower Honey; Cedars Café’s Grilled Lamb Chops glazed with honey, horseradish, mustard and mint; Journeys East’s signature Deep Fried Lamb Rib coated with a wildflower honey and fresh garlic sauce; and The Draft Sports Bar and Grill’s Honey and Rosemary Spiced Parmesan Chicken Bites served with an Oregon Wildflower Honey and Rosemary Butter.
For a little Honey and Spice on the go, guests can enjoy Espresso/Carvery’s Asian Chicken Salad with sesame-roasted chicken breast, cabbage slaw and Mountain Wild Flower Honey Blossom vinaigrette.
Pastry Chef Nikol Nakamura’s Sweet Kitchen Honey and Spice featured desserts include a Spiced Apple Tarte Tatin with honey caramel on puff pastry paired with spiced house holiday blend of vanilla ice cream and blackberries at Blackfish Wild Salmon Grill or a Baked Pecan Tart at Cedars Café. The tart filling includes toasted pecans, honey and house-made spice blend, topped with spiced whipped cream and orange. And, nothing says pizza pie like the Ginger and Honey Chocolate Pie served hot right from Blazing Paddles’ pizza oven. This extraordinary creation is prepared with their house-made fresh dough, ginger-infused honey, hazelnuts, chocolate chips, fresh peaches and orange zest to top it all off.
For more information about the Honey and Spice promotion or Tulalip Resort Casino, visit here.
By Kalvin Valdillez, Tulalip News
Generation after generation, the Coast Salish tradition of wool weaving was historically passed down from mother to daughter, since the beginning of time all the way until the years of assimilation. The art of creating clothing, regalia and blankets from wool was nearly lost until it saw a sudden resurgence in the early 2000’s. Of course, the tradition wasn’t completely lost, after the boarding school years a number of families continued to practice weaving. Both oral history as well as several artifacts served as reference points when bringing back traditional wool weaving.
Master Weavers Betty Pasco (Suquamish), Danielle Morsette (Suquamish), Dr. Susan Pavel and Frieda George (Sto:lo Nation) are among the few names who deserve the most credit for the revival. These ladies took it upon themselves to host a number of classes on local reservations to teach tribal members the tradition that seemed to be fading from existence due to the advancement of technology.
The revitalization allowed Coast Salish people to reconnect with the tools and textiles our ancestors created, as well as reflect on the significance certain woven items possess within tribal communities. Now all of the students from the wool weaving resurgence are passing their knowledge down to the next generation as more and more tribal members want to learn how to traditionally weave blankets and regalia, as well as the history of wool weaving.
On the night of November 2, Tulalip and surrounding communities gathered at the Hibulb Cultural Center (HCC) for an exclusive first look at the museum’s new exhibit, Interwoven History: Coast Salish Wool. As the guests entered the museum’s longhouse they were welcomed by HCC Senior Curator, Tessa Campbell.
“This exhibit demonstrates the resilience of our people, our culture and how the teachings have been passed down,” explained Tessa. “Coast Salish wool weaving started to disappear around the early 1900’s with the introduction of the boarding schools. Around 1905 you started seeing the sale of goods by tribal members such as vegetables because they were learning how to grow crops. But basketry and woven blankets were being sold around this time also. Around 1920, tons of socks were being knitted, which seemed to replace wool weaving. And in the 30’s, the Tulalip Home Improvement Club was started by a group of Tulalip women and this one woman started teaching Coast Salish wool weaving. It seemed to disappear up until around 2000-2005 when Tulalip people start weaving again and it seems they learned from Susan Pavel and Danielle Morrissett. Those two weavers were the forces that brought back Coast Salish weaving in Tulalip.”
Master Weaver Frieda George traveled all the way from Chilliwack B.C. with her family and was honored as the evening’s guest speaker. Frieda recalled first learning how to weave as a child, when she would visit with her grandmother. She also stated that she is a fourth generation weaver and has carried the tradition for her entire life, sharing her techniques with Coast Salish people for decades. Frieda’s daughter, Roxanne, then took the floor to share a story about how her great-great-grandmother used to cleverly place branches along pathways in the Canadian mountains where mountain goats were known to pass through. After a few days, she would return to the mountains and collect all of the fur from the branches to use for weaving traditional blankets.
Museum attendees were free to explore the new exhibit in an open-house style setting. Upon entering the exhibit, your eyes immediately meet a beautiful wool woven shawl that was gifted to Tulalip Board of Director Mel Sheldon. You’re then taken on an interactive adventure that is fun for the entire family. The exhibit features a number of hands-on activities for the youth including a puppet show, a touch-screen weaving game as well as a sensory station. On display were a number of pieces created by Tulalip tribal members including a spindle whorl by Tulalip carver Mike Gobin and several regalia pieces woven by a number of Tulalip artists.
“We reached out to the community to see who was an active weaver and if they wanted to loan any pieces,” says Tessa. “We had twelve pieces donated by weavers Virginia Jones, Carolyn Moses, Sarah Andres, Joy Lacy, Tessa Campbell, Andrew Gobin and Taylor Henry.”
“I did two pieces for this exhibit, a speaker sash with a matching headband,” explains Taylor Henry. “I’ve been weaving since 2014 and have been beading since 2004. Once I mastered beading, I wanted to expand my knowledge and put my hands in other textiles. I did these pieces on my own, it was my second project that I made on the loom my auntie Marci gave me. I wanted to stick with traditional colors, I did the natural white and brown, I didn’t want to go too contemporary.
“It’s an honor to be asked to have something displayed in the museum,” he continues. “It’s important because it teaches us our identity and where we come from, who we are. We may work with commercial wool now, but we still use that traditional technique and style of weaving and that’s something that connects us to our ancestors.”
Traditionally, the Coast Salish people utilized fur from mountain goats as well as from wooly dogs when weaving. Wooly dogs were a breed that the Northwest tribes held in high regard because of their fur, so much so that tribes kept the dogs on nearby islands away from village dogs to prevent crossbreeding. In his expedition log, Captain George Vancouver stated that the wooly dogs resembled pomeranians but larger. The dogs were sheared every summer and their wool was used to prepare for the upcoming cold seasons. After the arrival of blanket manufacturers like the Hudson Bay Company and the importation of sheep, tribes no longer had to use wooly dog fur as sheep fur was more water resistant and blankets became easily accessible. Tribes eventually brought the wooly dogs back to their villages and because of crossbreeding, the breed went extinct in the early 1900’s.
Shortly after the opening of the museum, HCC sent a traditional blanket to the University of Victoria so they could determine what type of fabric was used to create the blanket. The university recently contacted the cultural center with the results and to great surprise, the blanket was comprised of both mountain goat and wooly dog fur.
“I think the focal point of the exhibit is the fact that we have a wooly dog blanket which is very rare and very few museums throughout the whole world have them,” Tessa exclaims. “We’re so fortunate to have something from the 1820’s that helps preserve our culture and helps us tell the history of this important part of Coast Salish weaving.”
Master Weaver Tillie Jones held a live demonstration during the exhibit’s first night. On large looms, she displayed two of the projects that she’s currently working on and explained the many intricacies and the importance of weaving.
“We have a twill pattern, twine pattern and tabby pattern,” she says. “I really like to mix them, it reminds me of the blankets I grew up seeing, the significant ones the chiefs would wear and the status that comes with those different pieces. We also have different dyes. We use huckleberries and different natural materials whether it’s nettles, walnuts, madrona bark, you can use commercial dyes as well. Twining really teaches patience. You have to be present when your weaving, if you let your mind wander, you can make a mistake. It’s important because you’re putting yourself into your work, whether you’re a carver or a weaver, you’re bringing that work to life, you’re breathing life into your piece.”
Tillie is currently hosting a six-week course at the museum, teaching the community the art of wool weaving. The class immediately filled up upon its announcement but she encourages you to call HCC and request to be put on a waitlist for the next course and to visit the Interwoven History exhibit in the meantime.
“Whether we’re teaching or creating our weavings, we’re keeping it alive for the generations to come,” says Tillie. “We’re showing that this is the regalia that we used to wear, that we still wear and that this is who we are as Coast Salish people. That’s how we’re recognized, by our regalia. When we travel people recognize where we come from, who we are and what our roles are in life.”
Interwoven History: Coast Salish Wool is on display until the end of 2019, be sure to visit soon. And for more information, please visit www.HibulbCulturalCenter.org
By Kalvin Valdillez, Tulalip News
For one hour, every Monday evening, the Tulalip Youth Council board room is turned into a music studio where a live rock band rehearsal takes place. As you approach the building, you hear the sound of drum patterns increasing and decreasing in pace and volume, accompanied by small fits of laughter. In the middle of the youth council chambers was a small circle of young musicians banging out beats on large paint buckets. The band is so caught up in the moment and exuding so much joy that their smiles become extremely contagious and every four measures somebody ends up making the entire group crack up with just a grin.
As the drums started to decrescendo, a voice that many local youth would instantly recognize, began to sing the hello song, welcoming everybody to the rehearsal. Victoria Fansler, of the Snohomish County Music Project (SCMP), led the band with the first song of the day. Victoria often works with the Tulalip youth at the Betty J. Taylor Early Learning Academy, Quil Ceda Tulalip Elementary and many other schools and tribal programs, helping the kids overcome traumatic experiences through music therapy. Over a year ago, representatives of SCMP attended a meeting held by the Tulalip Youth Services Inclusive Advocacy Committee, and from the meeting, Music yoU ROCK was created – an interactive, inclusive rock band instructed by SCMP Music Therapist, Colby Cumine.
“We started about a year ago,” says Colby. “We attended a few parent committee meetings for tribal youth with special needs and there was talk about a lack of opportunities for kids with special needs, especially those who are aging out of services. After high school, there are no federal requirements to continue providing services for individuals with disabilities who graduate from high school. We started the program a year ago and we had three or four people sign up each quarter. And we’ve had three other successful quarters since then.”
After Victoria welcomes everybody to the class, the band practices a few more rhythmic exercises before Colby calls upon someone to pick a song the class can get down to. Colorful scarves are passed out as Colby queues up the jams on his phone. Once the beat drops, everybody is out of their seats, dancing and waving their scarves. Following the dance party, the group picks the instrument and partner of their choice and begin practicing a song. This particular day, the band worked on the Michael Jackson classic, Billy Jean. After practicing with their partners, the band reforms their circle in the middle of the room to perform the song altogether.
“We are using music for goals that aren’t necessarily musical,” says Victoria. “In Music-Ed or a typical rock band experience, the focus would be on the final product, the performance and quality of the music. Here we’re focusing on that ensemble connection, noticing how each other plays and communicating together.”
“Music is a level playing field, everyone enjoys music in some form or another,” adds Colby. “In the music therapy setting, we don’t emphasize how well you can play the instrument but how much fun you’re having while playing the instrument. So if you’re a super talented guitar player who can play all the chords, licks and chops, or if you’re just strumming along having fun, both of those are equally as successful in this program.
“It’s a really good way to bring people together,” he continues. “People are sharing songs here; every week we drum along to a song chosen by someone attending the group. Even today one of the guys was singing along to a song he doesn’t listen to outside of this group but he’s picking those lyrics up and connecting with other people through that song and that makes my day. It’s always cool to see their growth, it’s always such a rewarding reminder of why we started this program and why we want to continue it.”
Before the class ends, Victoria sings farewell to her bandmates. Many of the musicians meet up briefly after the class to discuss their day and speculate on how much fun next week’s class will be.
“I come in every Monday,” says young rocker Ernie Mapanoo. “I like to play the guitars and learn to play the piano. Today I was working on a Michael Jackson song, I like that song a lot too, it was fun. I work on all kinds of songs though because I love music. I play the drums and guitar, that’s why I come out all the time to this rock band. [Colby and Victoria] are pretty cool too; I like them a lot.”
This quarter, the band was joined by future music therapists Lindsey and Kesha, Seattle Pacific University music therapy practicum students. Throughout the entire session, the young ladies assisted the musicians with chords and tempo and shared laughs during both of the dance and drumming sessions.
The musicians will continue vibing out the Youth Council board room every Monday from 4:30-5:30 p.m. until December 17. Towards the end of Music yoU ROCK, the band will record a few of their hits and have a listening party on the last day of the program.
Music yoU ROCK is funded through the Developmental Disabilities Administration (DDA). The program is open to the entire community. Those who are DDA participants can attend the program with no charge. For non-DDA particpants, the cost of the progam is $220.
For more information, please contact Tulalip Youth Services at (360) 716-4909 or the Snohomish County Music Project at (425) 258-1605.
By Micheal Rios, Tulalip News
Thirty years ago, you couldn’t find a map using the term “Salish Sea” for the Puget Sound region. There were Seattle galleries and souvenir shops aplenty selling Native art, but the masks, totem poles and sinuous formline animal prints were designs from hundreds of miles away, not from here.
Thirty years ago, no major art museum in Washington had mounted an exhibit highlighting Native created works of our own lands and waters. Salish artists were indeed honing their skills and creating beautiful works of art, but the critical interest and most gallery attention was focused on art from Alaska and the Canadian coast.
In 1989, the balance started to tip. Washington’s Centennial exhibit of Native arts opened, managed by Patricia Cosgrove and Kenneth Watson. Both art historians were on a mission to convince Washingtonians that totem poles are not indigenous to this area and that Salish art is. The exhibit was incredibly successful, and soon many influences aligned to literally change the landscape of the Northwest Native art market.
Ever since, the diligence and commitment of so many artists and their allies has led to the word ‘Salish’ entering mainstream vocabulary. This insured the characteristic sweeping lines and subtle patterns of Salish arts remains recognizable and emblematic of the greater Seattle area.
Through the effort of many, this vision has come true. High quality galleries like Seattle’s Stonington Gallery and Steinbrueck Native Gallery feature experienced and rising artists from across the Salish Sea region. Generations of new artists have risen in skill and popularity. Today, Salish art is an explosion of innovation and creativity that still has a firm foundation in our region’s heritage.
That innovation and creativity of Coast Salish artistry is currently on full display at the Mobius Art Gallery, located in Bothell on the Cascadia Community College campus. Inside the gallery mounts an unprecedented five-week long exhibition titled Native Spirit: Art from Indigenous Cultures.
“The artists and artwork in this exhibition embody a wide range of spirit and narratives that live within their Native cultures,” stated exhibit curator Chris Gildow. “Their skills, creativity, and passions are equaled only by their commitment to breathe life into artwork they create. Their artwork tells us about the connection between human and animal worlds, about salvation and transformation, and about our relationship with the Earth. This exhibition lets us share these stories and traditions with the entire community.”
On Tuesday, October 9, the auditorium adjacent to Mobius Art Gallery was filled with excited art enthusiasts and college students who heard there would be a traditional Native American welcome ceremony to mark Native Spirit’s grand opening. Led by Ray Fryberg, the Tulalip Canoe Family filled the auditorium with traditional song and dance to commemorate the special occasion.
Eight artists were selected to be showcased in the Coast Salish themed exhibit, which includes handcrafted submissions by five talented Tulalip tribal members: Mike Gobin, Tillie Jones, Ty Juvinel, James Madison, and the artist known as Cedar.
“It shows there’s a lot of talent in Tulalip,” said art gallery contributor Ty Juvinel. “We’ve grown a lot as artists. Seeing all the different artwork and local artists represented here is awesome.”
“I met the curator of this exhibit, Chris Gildow, about a year ago when he asked me about a Salish exhibit that he wanted to put on here at Cascadia College,” added Lower Elwha artist Alfred Charles, Jr. “As artists, he gave us free reign to create whatever we wanted. I’m excited that so many people came out and shared their art with the community. This exhibit turned out great.”
Coast Salish art is rich in its diversity of forms. Masks, weavings, wood carvings, jewelry, and intricate bead work are but a few of the common mediums often associated with the Coast Salish style. Subject matter includes, but is not limited to, human and animal forms, spiritual themes and mythic figures. A diverse selection of artwork was chosen to be on display.
Native Spirit: Art from Indigenous Cultures will be on display until November 15. Mobius Art Gallery is open and free to the public Monday – Thursday, 10:00am to 4:00pm. For more information please visit www.cascadia.edu/nativespirit