Artists

Adolf Oetter

British Columbia artist Adolf Oetter was born and raised in Bremen, Germany, immigrating to Canada in 1967. It was in Germany that he learned the skills of metal smithing, apprenticing for nearly four years in a slowly dying trade. In 1955, he was one of only three German apprentices undertaking formal metal smiths training, earning his journey mans certification in 1958. Metal smithing is a skill that can be directly traced back to the Middle Ages when talented European craftsmen fabricated suits of armor for 15th century soldiers. Later it evolved into a more widely appreciated art form as metal smiths learned to form ornaments and practical items such as tea kettles and bowls. With special metal smithing tools he has created, Oetter pursues this unusual trade from his studio on Vancouver Island. His works are seen in fine galleries throughout the Pacific Northwest and Alaska.

Al Charles Jr. - Tribal Name - “Wenanua”: meaning “likes to war”

Al Charles Jr. was born in 1972. He comes from a long line of carvers, most notably his grandfather, Foster Charles. Al started carving at age 14, and carved plaques, bowls and paddles. Al has participated in the Paddle Journey since the late 1980s. In 1993, at age 20, Al carved a 36-foot canoe named “Elwha Warrior”. More recently, he was a force on the carving of the ocean-going canoe, “Spirit of Elwha”, which was the canoe used in the Paddle Journey in 2002-2003.
Al has worked with many different tribes on various projects, including carving a totem pole at age 22. In 2001, he started working with silver and more recently gold. The jewelry designed and carved by Al captures the true spirit of Northwest Coast Art. Al Charles Jr. has apprenticed with many renowned artists such as Dale James, Ritchie Baker, Dwayne Pasco and Richard Mike.

Aleasa James

Aleasa James is a young, Native American artist. She developed her artistic style while living in Southeastern Alaska studying under Tlingit carver Gerald T. James of Auk Bay, and Tsimshian artist/carver Eli F. Milton of Metlakatla.

Amos Wallace

Amos Wallace is a noted Tlingit carver and member of the Raven Clan. He started carving in 1938 at age 18. He has carved many totem poles that still stand today at museums throughout the United States. For the past 30 years, Amos has served as president-elect of the Alaska Native Arts and Craft Association and still works in many mediums including silver, prints and wood. He is one of the most prolific and famous Alaskan artists living.

Andy Everson

Andy Everson, tribal name Nagedzi, was named after his grandfather Chief Andy Frank. Andy was born in Comox, British Columbia in 1972. He began drawing Northwest Coast art at an early age. In 1990, his first serious artistic efforts resulted in designing and painting chilkat-style blankets for use in potlatch dancing. Throughout these early self-taught lessons, Andy tried to follow in the footsteps of his Kwakiutl relatives in creating bold and unique representations that would remain rooted in the age-old traditions of his ancestors. Andy earned a Master’s degree in Anthropology. “My artwork stands on par with these other accomplishments”.

Andy Wilbur Peterson

Andy is a member of the Skokomish Tribe. He began carving after being inspired by a tour of a museum exhibiting Northwest Coast art; and began exploring various art forms. By age 18, he had taught himself how to both carve and paint. Later, Andy and his Uncle Peter Peterson made a joint effort revive to the traditional steam-bent box here at Skokomish. His early designs were predominantly in northern style, because it was most accessible. Later, sources at the University of Washington and British Columbia yielded examples on which he used as a basis for developing a traditional and exciting Coast Salish style. He also studied Salish art pieces made by his great-grandfather, Henry Allen.
In 1987, he worked with Makah Artist, Greg Colfax on a 12-foot female welcoming figure for The Evergreen State College. In 1994-1995, Andy worked with Steve Brown on a pole for Richmond Beach Park. While working on the pole, Steve introduced Andy to many types of carving tools. He also taught him the art of tool making and silver carving. He now makes his own tools, which has broadened and enhanced his carving career.

Andy continues to research and contribute to the revival of the Salish art. He has taught many people and is currently working with his youngest daughter (Bunni) in all of the art forms, and looks forward to working with his grandchildren and keeping the Salish Art forms alive.

He is currently working collaboratively on a variety of large-scale carving projects for his gallery. His works include both Salish and Northern style; steam-bent boxes/chests, panels, drums, rattles, paddles, masks, speaker staffs, bowls, totems, button-blankets, silver and furniture.

Anita Valikoski

Anita Valikoski was born in 1954 in Victoria, B.C. Anita was able to combine her lifelong love of art and the experience gained from previous career paths to open Otter Gallery in 1990 in Campbell River. For 10 years, the gallery featured the works of more than 100 Canadian artists. Anita joined Adolf and Ryan at the Otter Studio in 2000, where she enjoys assisting them with production work and designing, but most of all she enjoys working with customers.

Barry Herem

Barry Herem is a Seattle artist who has worked in the Northwest Coast Indian style for many years. He has written about the subject as a reviewer, and as an unofficial ethnographer and archaeologist who has done fieldwork collecting and publishing data about the pre-contact Tlingit and Haida of Southeast Alaska.

Barry's work is symbolic, animistic and organic, and has been shown in nearly every major American city and many foreign ones. Barry’s taut and harmonious work owes much to the essential forms of Northwest Coast native art, which he has renewed and extended in what he calls "equal parts invention and assimilation."

He has created artworks in wood, steel, bronze, fabric, aluminum plate, glass and serigraphic print form. He has created several large sculptures, including two, 30-foot aluminum plate whale sculptures for the Portland, Oregon International Airport and a large acrylic sculpture for the Seattle-Tacoma (Sea-Tac) airport. He has created more than 40 limited-edition serigraphs, plus 5" x 7" art cards based on them.

Barry spends every summer exploring the island seascapes of British Columbia and Southeast Alaska in his large sea-going canoe. He also frequently guides a 65-foot schooner, "Crusader," on voyages of adventure through the same magical region.

Ben Charles

Chris Paul

Chris Paul was born a member of the Tsartlip Reserve near Brentwood Bay, BC. He was raised in a proud, loving family entrenched in a culture rich in stories, traditions and rituals. However, Chris’ own admiration of Coast Salish art began in 1995, when at age 26 he apprenticed with Floyd Joseph. Sparked by personal drive, enthusiasm and an insatiable thirst for a clearer understanding of West Coast Art, he studied the art of Charles Elliott, Susan Point, Mark Preston, Joe Wilson, Bill Reid, Robert Davidson, and Roy Henry Vickers. Also in 1995, Chris Began a lifelong friendship with Vickers who agreed to provide him an apprenticeship provided he first spend a year at ‘Ksan, a native art school in Haselton, BC.

At 30, having satisfied Vickers’s request, Chris began an intense, two-year apprenticeship with Vickers, where he honed his skills as artist and businessman. Chris emerged from the two apprenticeships with his own style of expression and presentation, a style that reveals a heritage depicted in strong modern colors giving it global appeal. For Chris, his culture evokes the spirit of his art. As a member of the Saanich Nation, Chris’ style is a unique, refreshing combination of traditional and contemporary aboriginal design deeply rooted in a family and culture that knows and understands man’s position in his family, his community and his natural surroundings.

Each event in his life evokes a new image, which Chris transforms into a piece of art. Chris has completed and marketed a four-print series he calls “Saanich Spirit”. Each print reveals a part of his cultural history and beliefs and therefore, a part of his inner self. Each new piece he completes whether on paper, in wood, glass or silver will be an artistic interpretation, but has its origin in Chris’ ancestry and therefore his being. In his words, he already “has more ideas than he can ever realize in a lifetime.”

Cubby Martin - “Chaa’k Ginny Kaa” – meaning Eagleman walking

Cubby Martin is a proud Tlingit. He is Kagwaantaan, which is the Eagle and Wolf family. Cubby first began learning to weave from Richard Welch. Richard was taught by Anna Jefferson, who is one of the Master Weavers from the Lummi nation. Cubby and his mother, Agnes Watson Martin of Haines, Alaska, then joined a coastal group “Kuteeya” and began weaving traditional hats and baskets. Cubby adapted his craft and started doing contemporary styles of hats. He learned to pull cedar from other weavers. Cubby further increased his knowledge by taking a class from Anna Jefferson. The people who most inspired him to learn weaving and basketry were his mother, Agnes Watson Martin, Pete Barril and the “Kuteeya” group leader, Misty Hammontree.

Dale Faulstich

Dale Faulstich is an artist and a woodcarver. Living and working on the Northwest Coast since 1974, Faulstich has a strong background and intense interest in the art forms of the Northwest Coast Native American people. “I was wood carving for a living and one thing led to another. The more I got into it, the more excited I got.”

Faulstich’s years of designing and carving in this style are evident through the simplicity of the designs and the intensity of the feeling they evoke. He has collaborated on many projects with the Jamestown S’Klallam Tribe. Much of the commissioned artwork in and around the Administration Building and Tribal Center attests to this long-standing relationship.

Traditional sculpture and woodcarving in the style of the Indigenous People of the Northwest Coast are created by Faulstich in the form of masks, totem poles, steam bent boxes, carved animal form bowls, rattles, drums and other ceremonial objects as well as carved doors, wall panels, etc., for contemporary applications. Dale’s designs have also been incorporated in jewelry design. All productions are custom designed, well researched, and fabricated employing the highest quality materials and workmanship. 

Danny Dennis

A Tsimshian native artist of the Frog Clan, Danny Dennis was born in 1951 at the Gitskan Village of Kitwanga. Danny's art reflects the beauty of his homeland, combining his past with his present day experiences.

A self-taught artist, Danny Dennis cites mentors such as master artists Francis Williams, Robert Davidson and Bill Reid for his inspiration to begin pursuing his professional artistic career in 1978.

Danny carves indigenous materials such as ivory and mastodon bone. Collectors of finely carved gold and silver jewelry enjoy his traditional design work. Unique to Danny's art are the free-flowing lines capturing the expression of freedom, and the infinite possibilities of where a person's spirit can lead them.

Danny is one of the rare Northwest Coast artists producing original paintings. His work has been exhibited in Germany as well as many Canadian galleries. It illustrates many of the dominant themes and symbols of his Native culture.

Dennis Allen

Dennis Allen is a member of the Skokomish (Twana) Tribe. His grandfather, Henry Allen, was one of the last carvers on the Skokomish Reservation, and his son, Andy Wilbur-Peterson, is a renowned wood carver. Dennis has won awards for his different art pieces and has his artwork featured in galleries in several different states.

Eugene Hunt

Eugene Hunt, 1946-2002. Eugene will be remembered for his fine contributions to the preservation of a unique art form. Born in Alert Bay, B.C. to Chief Thomas Hunt and Emma Hunt, he was a member of the Fort Rupert Band of the Kwagiulth people. In the early 1960s, Eugene spent about four years carving at Thunderbird Park, Royal B.C. Museum, in Victoria, where he learned from Mungo Martin, as well as Henry and Tony Hunt. He left his art for the next 25 years, which he spent as a commercial fisherman. In 1987, Eugene resumed carving, and during this time he also took up painting. In recent years, he worked with Calvin Hunt, George Hunt Jr. and John Livingston.

Francis Dick

Born in 1959 into the musqamakw Dzawadaenuxw Band of Kingcome Inlet, Francis Dick is a member of the Kwakwaka'wakw. She is a descendant of the supernatural Wolf, Kawadelekala, who became first of the Kingcome people. Most of her work contains images of Kawadelekala, acknowledging her contemporary ties to her cultural past. Francis says that "Before anything else, my work is about honoring my life process, my journey, through my fires, from places of pain and darkness to places that I might stand in my truth; my work is not a career, it is a way of life."

Francis offers drum-making workshops and is frequently requested to speak for various community organizations, women's groups, as well as university classes. Although her primary forms of artistic expression have been through her paintings, prints, and singing, she also works with gold and silver, and does some work with wood. Francis produced carvings in Alert Bay for several years, working with her first cousin Beau Dick, as well as Bruce Alfred and Fah Ambers. Francis' career as a social worker was short-lived. She realized her work was honoring her gifts, where she is in her element. This has expanded into a newfound love for writing and performing. She wrote and produced a ceremony performance entitled "Wiwoma: Honoring the Spirit of Women," which opened to a sold-out audience at the Newcome Theatre in Victoria in June 1992. Due to ongoing praise and request, Wiwoma has been preformed twice since its opening. In October 1994, Francis was initiated into the highest-ranking society in her nation, the hamat'sa. Francis presently lives in Victoria, working with her creative expression as her way of life.

Frank Woll

Frank Woll has dedicated himself to the creation of fine art prints, architectural sculpture and graphic design for commission in the unique tradition of Northwest Coastal form and line design. His translation of contemporary technologies in printmaking, sculpture and architectural illustration to the visual vocabulary of ancient design techniques create evocative visions to elegantly and deeply engage the viewer.

Fred Anderson, Jr.

Fred was born in 1966 at Rivers Inlet, B.C., a village just east of the northern tip of Vancouver Island. Art was always a part of his life – even as a young child. He learned much from family and friends who were masters in the craft. Ross Hunt and David Gladstone provided guidance and helped to develop the talent that lay dormant during the turmoil years. He would not realize the value of this tutelage until decades later. Fred participated in the 2010 Olympic logo competition in 2005 and made the short list for his Heiltsuk "Spirit Bear" design called Awaken The Spirit.

Nanaimo artist Fred Anderson Jr. has a story to tell with his art. “We are all spirit having a human experience. We are all here to walk each other home…I believe that all experiences, positive or negative, are stepping stones to personal improvement.”

Gary Balch

Gary Balch was a direct descendent of Lord James Balch. In the year 1870, white settlers in Washington Territory began to bring pressure upon the Bureau of Indian Affairs to move all treaty Indians to reservations. Many of the Indians merely wandered the land, and without a clear title, they were easily and frequently dispossessed.
In 1874, under the leadership of Lord James Balch (Gary’s ancestor), a band of S’Klallams raised enough money to pay $500 in gold coin for a 210-acre tract near Dungeness, Washington. This began the Jamestown S’Klallam community. Gary is still doing his part to carry on with the traditions of his ancestors.  His handmade drums reflect his respect for the original method used in the making of drums.

Geoff Greene

Geoff Greene began his journey on May 10, 1959 in Skidegate, Queen Charlotte Islands, British Columbia. He is a member of the Haida nation, the only group that inhabits these Islands.
The Haida people are a matriarchal nation. In the spirit of matriarchal culture, Geoff inherited his talent as an artist naturally. Geoff credits his mother and grandmother for both influencing and promoting his artistic talent.

Geoff’s art has been influenced by his history, culture and Haida traditions. The traditional designs and styles of the old people and famous artists such as Tom Price and Charles Edenshaw, are the visions Geoff captures in his art. Geoff strongly believes that it is in his history where the pride of his people lies, so he has chosen not to adopt a contemporary style to his art. Geoff chooses to access traditional styles in his work, utilizing the colors of red and black in order to continually respect his ancestry.

Geoff’s creativity and talent can be found in a variety of media. The scope of who he is can be found in his argillite carvings, silverwork, paintings, Japanese Glass Balls and traditional drums. His work evolves around the crests and legends of the Haida people. It recognizes honors and celebrates the many gifts of Mother Earth. Images of whales, eagles, ravens and frogs can be found throughout his work.

Geoff’s pieces are prevalent in many private collections. He displays and markets his art in galleries within Haida Gwaii and is presently branching out into the Vancouver market. Geoff belongs to the Raven and the Eagle Clans. Given who he is and where he comes from, it is certain that the “spirit of flight” will remain a constant in Geoff’s artwork.

George David

George was born on the west coast of Vancouver Island, British Columbia, in the village of Clayoquot. He lived there for seven years before his family relocated to the Seattle, Washington, area. George’s parents are Hyacinth and Winnefred David. All members of the David family are skilled artists. George is an internationally acclaimed Native American Master Carver. He has studied and carves in many Northwest Coast styles: Nuu-chah-nulth, Makah, Tlingit, Haida, Tsimshian, Bella Coola, Kwagiulthh.
Northwest Coast styles: Nuu-chah-nulth, Makah, Tlingit, Haida, Tsimshian, Bella Coola, Kwagiulthh. “I owe much of my learning to such artists as Joe David, Ron Hamilton and Art Thompson.”

George David works with a variety of mediums including: wood - ceremonial masks, headdresses and rattles; 20-t0-30-foot totem poles; hand-carved panels from cedar (any size), hide – drums, all individually designed and hand painted, ivory – three-dimensional carvings, silver and gold – bracelets, pendants, pins and earrings.

Greg Colfax

Greg Colfax’s style of sculpture and two-dimensional design extends the concept of traditional Neah Bay and Ozette styles of Makah art, while maintaining a very strong connection to the most ancient visual and representational aspects of these traditions. An articulate speaker and writer as well as artist, Colfax has taught in the Native American studies programs of the Evergreen State College at Olympia, Washington.

Harold (Jackson) Alfred

Artist Harold (Jackson) Alfred was born into the Namgis tribe, in Alert Bay, B.C, in 1953. He is a member of the Kwakwakawakw (formerly Kwakiutl) Nation. Growing up in Alert Bay, constantly surrounded by the arts, he was influenced by the magic and majesty of the designs, figures and poles created by the great masters of the past. As a result, Alfred produces outstanding work, which has a contemporary feel and a strong sense of the past. Alfred shows his respect for his heritage by following the standards set by past masters and strives to develop a distinct style, which clearly depicts the strong traditional designs true to Kwakiutl art form. His logo is the powerful Thunderbird, which is one of the founding crests of the Namgis and is symbolic of his roots as a Namgis artist from Alert Bay. Alfred presently lives in Victoria with his wife and three children.

Harvest Moon

Harvest Moon is a Quinault Ambassador, historian, basket weaver and storyteller. Her combined talents and many skills help her create educational lectures for people of all ages. In her presentations, she describes an in-depth program of the Coastal Salish Natives. Harvest brings in hands-on artifacts, which deliver a clearer perspective of how things were done. She will speak of the abundance of life amongst the Northwest Coast Tribes, whose rich culture has been handed down from generation to generation. Discover the unique heritage that they hold close to their hearts.

Harvest has served two terms for "The Washington Commission for the Humanities" and received grants from the Seattle Arts Commission, Bainbridge Island Arts and Humanities and Heritage Arts Council for "Artist in Residency" throughout Washington schools. Her interest in history and her vast amount of research give her the title as a professional speaker and artist.

Harvest Moon means “A light shining forth in the midst of darkness.” She speaks from her heart and spirit, leaving people looking at a different perspective of the Northwest Coast Native Americans. She received the "Peace and Friendship Award" from the Washington State Historical Society in recognition of significant contributions to the understanding of N.W. Indian Heritage.

“Each Basket is an expressive vehicle of the Quinault basket weaver, the embodiment of its mythology, folklore tradition, poetry and spiritual aspirations.”

Hutch Sam

Hutch Sam is a member of the Ahousaht Band, of the Nuu-chah-Nulth Tribe on the West Coast of Vancouver Island. Hutch’s Father, Stanley Sam, is an accomplished carver, true historian and storyteller, and speaker for the Chiefs of the Wolf Clan, a privilege that is passed on from his grandfather. Hutch’s Mother, Katie Sam, is also very talented in making traditional shawls, beadwork, drums and preparation of traditional foods. She has passed down many gifts of creativity to her children and grandchildren. Hutch feels very fortunate to have grown up immersed in the richness of his culture and he participates as a singer and dancer. His family ties and connections with his people are very strong in Hutch’s life. His masks all have their own spirit, and bring with them generations of teachings, stories and a wealth of culture from the Nuu-chah-Nulth territory. Hutch prefers to work with alder for its unique texture and his carvings often express his own spiritual journey and connection to the sacred rituals of his people.

Jan Miller

Jan Miller is a talented nature artist with extensive credentials including a B.S. Degree in Biology & Chemistry from Western Washington University and a certificate for Scientific Illustration from the University of Washington. Jan has illustrated numerous books and is considered one of the nation's top natural science artists.

Janet Duncan

Janet Duncan is a Jamestown S’Klallam Tribal Member and respected elder. She is from the Ellis-Becker family and was born at the old Sequim Hospital in 1937. As an adult, Janet had a strong desire to introduce her grandson to his Native American culture, thus she began volunteering at various tribal activities. Janet also volunteered working with the Jamestown Children’s Program and this is where her passion for beadwork was born. She learned basketry and beading from a fellow Tribal Member at the age of 48. Janet’s enthusiasm for the art is infectious and she continues to give much of her time helping others to learn the art of beading.

Jeanne Gamble

Jeanne Gamble creates art that reflects the beauty and mystique of native Alaska. An adopted Tlingit of the Dog Salmon crest of the Raven Clan, Jeanne strives to show the strength, grace and pride she sees in the native culture that surrounds her.

Jody Bergsma

Jody Bergsma is an internationally acclaimed artist who creates designs combining nature and historical symbols. Collectors worldwide seek her creations.

John Goodwin

John Goodwin is a Native American from the Makah Tribe. John has worked all his life as an artist and fisherman. He is a renowned artist and uses several mediums, including carving in silver and Screened Originals that teach the legends of his people. Some of his designs are very complex, while others are simplex, either way retaining great significance. Each piece is an original design by John.

Joseph Ilig

A Marine zoologist, carver, jeweler and designer, Joseph Illg has worked in Alaskan waters salmon fishing and investigating the biology of Alaskan edible crab populations. For the past 13 years, Joseph’s focus has been creating original interpretations of Northwest Native coastal art. His work in bronze, ceramics, stone, copper, silver, glass and cast paper exhibits fine artsmanship and a sophisticated understanding of the tradition’s visual organization and artistic principles. This show features Joseph’s copper relief sculptures, which go through many steps to reach their rich patina.

Julie McKenney

Julie McKenney is a proud Makah. Her family heritage transcends many generations dating back to the Ozette tribe of the Makah, which inhabited one of the five early villages.

Julie is a fifth generation weaver, which she learned from her great grandmothers, Hazel Butler Parker and Bertha Lane Smith, and grandparents David “Ty” and Leah Parker. Julie’s work has been strongly influenced by her mother, aunts and grandparents. As a family, they sit around the table talking, sharing their basketry designs and teaching their children. Most of their work takes form as baskets, hats, cedar mats of all sizes, sun visors and graduation caps. Other designs include weaving around glass balls, seal teeth, bear claws, candy dishes, bottles and key chains.

Keith Tait

Keith Tait was born into the Gitsan Nation at Kispiox in the province of British Columbia. He later trained in art and design at the Gitammaax School of Northwest Coast Native Art at Ksan Village in Hazelton. Keith’s graphic sensibility is reflected in the bold precision of his artwork. His designs provide a unique and natural expression of the Northwest Coast traditions of the Bella Coola region.

Linda Wiechman

Linda Wiechman is a member of the Lower Elwha Klallam Tribe, located in Port Angeles, Washington. Linda is a teacher for the Northwest Indian College of Native Basketry and owner of a retail business known as Something Native. Included in her talents are wood carving, native regalia. She has been President of the Long House Association for the past seven years, sponsor of many canoe families, and assisted in the creation of the video documentation “Song on the Water” in collaboration with producer Robert Lundhal of Evolution Films.
Today, Linda is raising three children, working part time for Juvenile Justice and working part time for the Lower Elwha Health Clinic for the Lower Elwha Tribe.

Manuel Salazar

Native artist Manuel Salazar was born in Seattle in 1966, and is affiliated with the Cowichan Nation in Duncan, B.C. His mother is Salish from Ladysmith, B.C. In his early 20s, Manuel began working full-time at his artwork, interpreting the legends of his Salish heritage. He has apprenticed with Delmar Johnny and Art Vickers and is inspired by Simon Charlie and Robert Davidson. He has spent time working at the Native Heritage Centre in Duncan, concentrating on the design and painting of traditional drums. He is presently looking to expand his work into the medium of carving and jewelry. Manuel has developed his own unique style, blending traditional Salish elements with bright contemporary graphics.

Maynard Johnny, Jr.

Maynard Johnny, Jr. is a member of the Penelakut Nation (Northern Coast Salish) at Kuper Island, B.C. Maynard was born in 1973 in Campbell River, and now lives in Chemainus, British Columbia. His mother is from Cape Mudge on Quadra Island and his father is from Kuper Island. Maynard is a self-taught artist who has been working on his art since his teens. Robert Davidson, Art Thompson, Richard Hunt and Mark Henderson inspired him. In addition to painting, Maynard has begun woodcarving and engraving precious metals.

Micah McCarty

Micah McCarty is a traditional Makah carver and drum maker. He learned the tradition from his father, who is among the last generation to grow up in a Makah-speaking household. Micah was taught the old ways, not only in carving and drums, but also of singing and creating dance gear.
For years, Micah has been a vital part of his community — helping the Makah Family Counseling Center’s Substance Abuse Program by providing preventive workshops in carving. His work with youth has been definitive for the community, giving the young people a link to their traditions to help keep them out of trouble today. In his community, Micah is known for going out of his way to help, providing last-minute dance gear for dance troupes and serving as a spokesperson for the tribe in local, state and global forums. As a master of native Makah art, Micah does more than uphold ancient traditions – he upholds the community of the Makah.

Micah Vogel

The booming of Micah Vogel’s voice can be heard singing at any potlatch, family gathering or celebration. Making sure his family songs and history are remembered is very important to Micah. Good spirited and artistically gifted, Micah was given the name “Sallawish” at his naming potlatch. His roots in the small coastal tribal village of Neah Bay are deep. A life-long resident of the Makah Reservation, his devotion to the Makah culture and Tribal arts is apparent everyday in his singing, ceremonial dancing and art. Micah is the best of the new young artists – remembering the past, but creating new images and composing new songs for the future. From Northwest Indian Magazine’s Melissa Peterson.

Nancy Dawson

Nancy Dawson was born in Alert Bay on northern Vancouver Island in September 1954. Her mother, Catherine Beans, was from the Mamaleleqala-qwe-qa-sot-enox nation on Village Island and her father, Don Gesinghaus, was of German decent. Nancy credits her family for her success as an artist. Her father was a talented wood and metalworker who fashioned intricate wooden railings that both fascinated and inspired Nancy. Her mother raised Nancy in the “potlatch circle” which greatly contributed to Nancy’s sound understanding of her culture. Nancy has been carving poles and masks since 1980, and was invited to participate in the carving of the world’s largest totem pole, which graced the 1994 Commonwealth Games in Victoria, BC. Always open to new challenges, Nancy expanded her portfolio in 1990 to include designing and producing gold and silver jewelry. Nancy continues to produce outstanding work and welcomes any challenge whereby she can combine her skills as an artist with her culture.

Nathaniel P. Wilkerson

Nathaniel’s Native American ancestry is through the Gitksan tribe in Hazelton (Gitan'maaxs) B.C. Canada. He is a member of the Wolf clan (lax Gibuu), house of "Amaget". His mother's grandparents are Peter Gordon Wilson and Amelia Angus, both from the Hazelton/Kispiox (Ans'payaxw) area. Nathaniel was raised in Terrace, B.C. and spent most of his youth working on the family farm.

At age 11, Nathaniel attended a seminar put on by Freda Diesing. Private lessons were arranged with Freda so that he could be properly schooled in the arts of his people. Nathaniel learned the basic rules and concepts of the artwork and became familiar with most of the animals and their distinguishing characteristics (i.e. wolf, eagle, bear, beaver, hawk, raven, etc.) Nathaniel was also fortunate in that Freda spent a good deal of time teaching him to actually carve out a number of pieces from Red Cedar and Yellow Cedar. From this, he was able to learn the basics of wood carving (bas relief only) and how to take a piece from simple artwork to a finished product.

Nathaniel credits Freda Diesing for his training, and for the influence her work has had on his own work. Nathaniel prefers a more classical approach in his artwork, with heavier form lines and a look that is probably more Haida than Tshimshian.

Nathaniel’s wife, Cynthia, is supportive of his artwork and often helps in the composition of many of the pieces. Nathaniel and Cynthia have four very active children. The family resides in Olympia, Washington. 

Odin Lonning

Odin Lonning (Tlingit name Sh’now Taan) is an award-winning, professional Native artist from Juneau, Alaska. He is Woosh Ke Taan (Eagle/Shark) Clan through his Tlingit mother, and he shares the name of his Norwegian father.

At age 10, Odin was motivated to explore Tlingit art when he saw his first traditional dance performance. Local Native artists, culture centers and museums in Southeast Alaska also inspired him. Seeking a deeper understanding of the culture essential to his artwork, Odin learned Tlingit dances and songs. Now he dances with groups in Seattle and Alaska. Since 1982, Odin has devoted many hours to cultural education for Native students and the general public. Today, he collaborates with his partner, Ann, on Keet Shu-ka: an indigenous tribute to killer whales and other innovative programs blending First Nations culture, science and art.

In the mid-1970s, the Juneau Centennial Committee, Juneau School District, Goldbelt Corporation and Sealaska Corporation commissioned works by Odin for permanent display. Since 1974, Odin has won multiple awards in art shows throughout the Western United States. In 1989, he attended the Institute of American Indian Art in Santa Fe, New Mexico. In 2000, Native Peoples featured furniture designs he created for Northwest Native Designs.

Odin’s current works in both traditional and contemporary media include carved totem poles, boxes, wall panels, masks, paddles, bowls, painted original designs on drums, canvas, paper, hard wood, leather, etched glass and copper, appliqué and leather dance regalia and graphic design for jewelry, fabric and leather furniture. He creates custom painted or carved designs for logos, boats, kayaks and exterior architectural work.

R. Brian Perry

Richard Vogel

Robert P. Hewson

Robert P. Hewson is an accomplished Tlingit artist known for his contemporary and thought-provoking work. Robert resides in the Pacific Northwest after living many years in Alaska.

Ruth Wilbur Peterson

Ruth was born in Bellingham, Washington, in 1960. She moved to the Skokomish reservation and married the Skokomish (Twana) artist Andy Wilbur in 1975. There they raised their three daughters and have been active community members since.
In the mid-1970s, Ruth was introduced to the traditional lifestyle and arts of Salish culture from Skokomish basket makers Louisa Pulsifer and Emily Miller. With her move to the reservation, Ruth was exposed to intriguing Salish legends told by Skokomish elders. These legends still inspire and influence her work today.

Ruth's formal training includes courses in metal carving, graphics and tool making from Steve Brown, who is the former curator of the Northwest Coast art at the Seattle Art Museum. Both Steve and Andy taught her the basics of northern style design and Andy taught her the Salish (southern) style. She has also studied informally with Makah artist Greg Colfax.
Prior to her carving career, Ruth made baskets and designed and made traditional clothing such as dresses, shirts and button blankets. Ruth has worked with her husband on hundreds of projects over the years. In 1990, Ruth mastered the art of painting, carving and steam bent boxes. At this point in her career, she started selling her art in galleries throughout Washington and Oregon. Her current work includes silver carvings, bentwood boxes, spirit panels, drums, rattles, masks, totem poles and button blankets.

Over the years, Ruth has taught and helped many community members learn the art of basketry, drum making, graphics, painting and carving. Andy and Ruth are currently teaching their daughters all the different art forms they know, and are looking forward to teaching their grandchildren. 

Ryan Valikoski

Artist Ryan Valikoski was born in 1979 in Victoria, British Columbia Canada. He showed artistic ability from a young age. At age 18, Ryan began a non-formal apprenticeship with his uncle Adolf Oetter. Ryan works with Adolf, Harold and his Aunt Anita Valikoski at Otter Studios. He formed a close working relationship with them and has learned many valuable skills. Working with artists Adolf Oetter and Harold Alfred, Ryan acquired an appreciation for Native design and handcraft. In addition to becoming a skilled craftsman, Ryan developed a great understanding of the hard work and integrity that goes into creating each piece of handmade artwork. He has been with Otter Studios since 1998.

Shaun Peterson

Shaun Peterson was born in Puyallup, Washington, in 1975 and is a member of the Puyallup Tribe. Shaun’s work is culturally based in the ancient tradition of the Salish speaking tribal groups that cover a majority of western Washington and parts of Southern British Columbia.

In Shaun’s introduction to the Northwest Coast Native art discipline, he worked with a select group of artists skilled in their field of expertise including Haida artist Bruce Cook III, Steve Brown, Greg Colfax (Makah) and Loren White. In working with these individuals, Shaun was able to learn a great deal about the variety of styles that define the different cultural groups through the art itself. In his quest to understand the defining artistic features of his own cultural group, he found that there was but minimal documentation readily available to be found. So with that, Shaun began rigorous study in museum collections to learn about the art that was in many ways forgotten among his own people. At first drawing from historic pieces for inspiration, Shaun eventually learned to utilize the properties that defined the Salish style and generated new creations based upon that collection of experience and exploration. His early work was primarily functional and related directly to ceremony in the form of painted drums, rattles and masks.

At present, Shaun has begun to integrate more “non-traditional” media into his art such as glass and metal while maintaining the defining features that make the art culturally identifiable. Shaun has done public works for the cities of Tacoma and Seattle as well as site specific work for tribal buildings in his community. Shaun’s work is both traditional and contemporary, drawing on the artistic discipline of the past and utilizing modern materials from the world today. His work is carried by many galleries in the Northwest region that specialize in Northwest Coast Native art in the form of limited edition prints, masks, rattles, hand carved cedar panels, etched glass and metalwork.

Steve Smith

Susan Point

Susan Point is a Coast Salish native artist. She has immersed herself in the study of traditional Coast Salish art, and emerged with a language of design, which is authentic yet vibrantly contemporary. Coast Salish art is relatively unknown to most people today as it was an almost lost art form after European contact – the reason being is that Salish lands were the first to be settled by the Europeans which adversely affected our peoples’ traditional lifestyle.

“In creating my art, I feel a need to continually express my cultural background and beliefs, yet my work continues to evolve with changes within and outside my community.”  

Wade Green – “TSIL-PIT-TOOK”

Wade Green is a self-taught Makah carver who spent most of his young life off the reservation. As he matured, he felt compelled to make the move back to his roots. Residing now in Neah Bay, he has developed a passion for the culture and the art of his people. He is an artist, singer and dancer, and composes his own music. He learned how to compose music from his grandfather and his grandfather’s friend, Hottowe. The two wrote and learned tribal songs together, and Wade considers Hottowe a second grandfather. “I started learning from him when my grandfather passed away,” Wade said. “He started guiding me.” Wade also said it was after those lessons that he awoke one rainy February morning in Neah Bay with a song about humility in his head. He didn’t recognize it and assumed he had heard it somewhere in his lessons. When he went to Hottowe for advice, it was then he learned that the teaching had begun to pay off. “He offered me the advice that it was a new song, a gift from my ancestors. He then explained how I could compose my own songs.”
Inspiration for the designs of his masks comes from within, but is contained within the laws of the Northwest Coast art. This mix of traditional and contemporary inspiration is evident in his beautifully carved masks.

Yukie Adams

Yukie married Henry Adams (Alaskan Tlingit) in 1984. Since Yukie married into an Alaskan Tlingit family, she became a part of the Tlingit culture. She made a study of the native art and the Northwest Coast. With all her new knowledge, she began creating contemporary Northwest Coast Native designs. Yukie stated putting her designs on drums, paintings, serigraphs and prints. After she lost her husband, she began to take her work to a new level. Yukie started to create woodcarvings and mixed media. This combination of modernism and traditionalism is unique to all her works of art.