W A B A N A K I

Ned Bear

Pawakan Kiwewin - Butternut, Horsehair, bear fur

Pawakan Kiwewin - 15.5"x10"x8". Butternut, Horsehair, bear fur, oil finish

Pawakan Kiwewin III - Butternut, Horsehair, bear fur

Pawakan Kiwewin V - Butternut, Horsehair, bear fur

Pawakan Kiwewin IV - Butternut, Horsehair, bear fur

Ned Bear was a sculptor from the Wolistoqiyik First Nations Community in Fredericton, New Brunswick. Bear, inspired by a Native Elder carver as a young boy, received formal training at the New Brunswick College of Craft and Design, where he became the first aboriginal student to graduate. Bear received additional training at the Saskatchewan Indian Federated College (now the First Nations University of Canada), the Nova Scotia College of Art and Design, and the University of New Brunswick, where he obtained a Bachelor of Education.

Bear created sculpted masks and marble or limestone figure forms. His masks are approximately three feet high and are usually carved from butternut or yellow birch. Each mask is adorned with horse hair (symbolizing the free spirit), bear fur (symbolizing healing), and/or metal (symbolizing something which is of the earth). Each mask or “spirit helper” tells a story and offers a modern interpretation of traditional spiritual beliefs. When creating art, Bear considered himself to be simply a vehicle through which energy flows from the eternal Great Spirit to the medium he was using. He said: “I prepare no preliminary designs or sketches for any of my work…allowing the spirit to guide me, and the medium to speak on its own behalf.”

Ned Bear has made significant contributions as an instructor of Native art and culture, a curator, a guest speaker, and a juror. He has served as the Director of Education for Saint Mary’s First Nation and as a member of the New Brunswick Arts Board. In 2006, he won first prize at the prestigious Face the Nation competition at the UC Davis Design Museum. Before he passed, Bear was pursuing a Masters degree in Native art education at the University of New Brunswick.

“We delve into so many past wrongs of our lives that we forget to revel in the present. Learn to capture what you may never have again, now! Do what makes you content for this time, and begin to realize the true purpose of life.”

- Ned Bear

Roger Simon

Farewell To The Land of the Micmacs I, 1990, 30" x 30", Oil on Canvas

Man Under Moon, 26" x 48" Acrylic on Canvas

Farewell To The Land of the Micmacs II, 1990, 30" x 30", Oil on Canvas

Elder With Mask, 21" x 18", Oil on Paper

The Water Girls, Oil on Paper, 21" x 17"

Water Ladies , Oil on Paper, 21" x 17".

Roger Simon was a Mi'kmaq artist from Elsipogtog First Nation. He studied at the George Brown College in Toronto, and continued at the New Brunswick College of Craft and Design in Fredericton. His work combined traditional and contemporary ideas where he painted the faces of people from Big Cove and other reserves that impressed him. His ideas stemmed from Mi'kmaq legends and stories from the Elders and he interpreted ideas from his culture in new ways. His inspiration came from the beauty of his people.

Simon's painting style was unique and his paintings are greatly appreciated by both the First Nations' and non-aboriginal communities. In 1995, one of his paintings, "The First Car on the Rez" (oil on paper, 1993), was selected by the Department of Foreign Affairs and International Trade's Fine Art program for a permanent exhibition of First Nations' art for the Canadian Embassy in Moscow, Russia .

Simon's work was displayed in several group and solo exhibitions and is found in various permanent public and corporate collections, while his murals remain on display in many Native organizations and at the Miramichi Hospital.

Roger Simon died in January, 2000. His death was a great loss to the Canadian art scene and for those who knew and loved him. His art will provide inspiration to others for many generations..

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Brian Francis

Looking in, 17" x 17", Acrylic on Canvas, $600.00

Pipe Ceremony, 20" x 20", Acrylic on Canvas, $1200.00

Crossing Over, 30" x 24", Acrylic on Canvas, $1400.00

Sacred Door, 16" x 20", Acrylic on Canvas, $800

Ignorance, 16" x 20", Acrylic on Canvas, $800.00

Brian J. Francis of Elsipogtog First Nation in New Brunswick is an accomplished director/writer and filmmaker. His major concern is the survival of the Mi’kmaq people and their culture. Brian is a Mi’kmaq language interpreter providing support to the general public as well as the parliament of Canada.

For many years, Brian has been involved in the arts, in music and visual art . Brian managed the Juno award-winning aboriginal recording artists, Eagle Feather. He was considered a pioneer in Aboriginal music production, bringing Native Music recording artists Eagle Feather to the Juno Awards. They were the first Aboriginal group to be nominated.

Since his entry into television Brian, has produced, directed, and written over 70 half hour documentaries along with two feature length documentaries.

His nature photographs are also very well appreciated and are the main subject of a publication entitled “ Between Two Worlds – Photographs and Spiritual Quotes by Brian J. Francis”. Brian maintains focused on his personal mission statement to “bring positive awareness of his people to mainstream Canada”. He spearheaded the development and production of the APTN

series, Eastern Tide and Circle of Justice, which screened at 17 film festivals around the world, debuted at the Smithsonian Institute and aired on APTN, CBC and IFC. Brian then went on to direct The Sacred Sundance for National Film Board of Canada.

Brians paintings are mainly a reflection and depiction of his dreams and visions . Highly spiritual in nature and deep in texture and color. His paintings “come from” a different plane and often resonate with a deeply spiritually minded audience.

Pauline Young

The Journey Home 30x36. Acrylic on canvas $1800

Time To Go - 30"x36", acrylic on canvas $1800

Pauline is a visual artist who was first exposed to the creative world through her father Phillip Young, an internationally renowned artist, who painted the bottoms of her feet. She still recalls the smooth sensation of paint oozing between her toes. She draws her inspiration from him and the natural environment and is always looking down to see what the ground can offer, such as incorporating beach sand and red oxide sand into her paintings. Pauline is involved in the Art Tells Stories group project through the Bathurst Art Society and the Miramichi Art Core. She finds this project fascinating because Mi’kmaq historical images are very limited in the Miramichi area and the need to research and explore can produce and bring out the true magic of her Mi’kmaq heritage.

Timothy Hogan

Solstice, 8" x 10", Found Quills, Birch Bark

French Acadian Lobster, 8" x 10", Found Quills, Birchbark,

Where the Sky Opens Up and the Angels sing, 24" x 24", Found Quills, Birch Bark.

Walks at Night, 8" x 8", Found Quills, Birch Bark.

Harvest Moon, 10" x 8", Found Quills, Birch Bark

Mother Nature A new Beginning, 14" x 11", Found Quills, Birch Bark

Thank you for your Service, 12" x 16", Found Quills, Birch Bark

Mona She Sines At Night - 10"x 8", found porcupine quills, birch bark on wood panel

Timothy Adam Hogan, also known as Timberwolf, has always been interested in art inspired by Mother Nature. He decided to pursue art as a career and chose to formalize his studies at the New Brunswick College of Craft and Design in the Aboriginal Visual Arts Diploma program.Hogan is inspired by the dream realm, spiritual visions, his children but most of all Mother Nature. These influence the use of natural materials like wood ash, birch bark, porcupine quills in Hogan’s artwork. Porcupine quilling is an ancient Native American art used particularly among East Coast and Plains tribes. Aboriginal quillwork involved softening and dying stiff porcupine quills and weaving them onto leather or birchbark. Hogan obtains most of his materials from his backyard, local rivers and streams within the St John River (Wolastoq) system. His porcupine quills are harvested along the highways, honouring animals that have died. These ancient techniques connect him with past generations. Hogan likes to imagine walking the same paths as his ancestors once did. He believes in protecting nature and its resources so the next generations can also enjoy the beauty and bounty of Mother Nature.

Chantal Polchies

Wampum Belt / Sold

Wampum Belt / Sold

Owl Guardian - 43cm x 12cm

Owl Guardian - 43cm x 12cm

Chantal Polchies grew up on the Woodstock First Nation reserve in New Brunswick, Canada. In 2014 she began her studies in the Aboriginal Visual Arts program at the New Brunswick Collage of Craft and Design.

She chose the AVA program because she was interested in Native history and wanted to learn more about her culture. In the AVA program Polchies learned how to work with bark, leather, and beading. After her foundation year in AVA she went into the Jewellery/Metal Arts program and learned how to make production work and show pieces.

Her inspirations come from nature, stories and her Aboriginal culture. After she graduated from Jewellery/Metal Arts in 2017 she came back for the Advanced Studio Practice at NBCCD and focused on self-direction with the assistance of her studio advisor and ASP teacher. During that time she taught herself chasing and repousse with some direction from her Studio Advisor. She now combines leather, beading, and metal together to express a story or feeling through her work.

Chantal’s work has been displayed in the All My People AVA student exhibition in 2015, the Sterling Jewellery/Metal Arts Student Annual Exhibition in 2016 and 2017, at Lieutenant Governor House and the 2018 Momentum Advanced Studio Practice exhibition. She was also the recipient of the 2017 Brilliant Award from the NBCCD Student Metalsmith Competition.

She is currently working on a line of earrings and pendants inspired by her mixed media belts.

Frannie Francis

Bee Spreading Seeds "Amo Etgenaoet" - 21" diam., acrylic on canvas, 2021 (Mi'kmaq translation by Georgina and Vince Barlow (Indian Island)

Francine Francis is a Mi’kmaq visual artist from Metepenagiag First Nation, New Brunswick. She is influenced by her love of the land and the wild animals and she takes pride in her Mi’kmaq culture and continues to integrate the double-curve, porcupine quill design motifs along with Mi’kmaq language, petroglyphs and hieroglyphs in her work.

She received a Bachelor of Arts Degree in Aboriginal Fine Arts from the Saskatchewan Indian Federated College, now known as the First Nations University in Regina, Saskatchewan.She has served as a Board member for the New Brunswick Arts Board, the New Brunswick Craft Council and served as a juror for the Canada Council and ArtsNB.

Most recently, Francine has participated in group exhibitions at the Beaverbrook Art Gallery, “Materiality and Perception in Contemporary Atlantic Art”, 2019 -2020, “Everything is gonna be fine” 2019, Gallery on Queen, “Re/newal”, 2019. Past exhibitions at The McCains Gallery ,Florenceville, the Moncton and Saint John Museums, Artcadienne Gallery, Miramichi, the Art Gallery of Nova Scotia in Halifax and in Yarmouth, The Khyber Art Centre in Halifax, the Rosemont Gallery in Regina, Galerie Schloss Monchental in Germany and Deutsche Werkstaetten Hellerau, Dresden, Germany.

She has participated in Artist Residencies which include an Artist-in-School Residency at Metepenagiag Elementary School, the Metepenagiag Heritage Park, the Deanery Project “Path We Share” Artist Residency in Lower Ship Harbour, Nova Scotia and The Art Gallery of Nova Scotia in Yarmouth. Her work is in permanent collections at the Beaverbrook Art Gallery, The New Brunswick Art Bank, Fredericton, New Brunswick Museum in Saint John, NB., The Province of Saskatchewan, Regina, the Department of Indian and Northern Affairs, Amherst, Nova Scotia, The Toronto Dominion Bank in Fredericton, The Metepenagiag Heritage Park and the New Brunswick Community College in Miramichi, The Department of Fishery and Oceans, Dartmouth, Nova Scotia.

Charlie Gaffney

Sihkawk (Walks through the swamp)

Sihkawk (Walks through the swamp)

Charles Gaffney is a Wolastoqiyik Visual Artist who holds both a Masters in Education, Bachelors of Education from the University of New Brunswick and a Bachelor of Arts degree for St. Thomas University. His current studio practice combines mixed media techniques that are applied to his art works that reflects a sensitivity and knowledge of Aboriginal Culture. He’s been the recipient of Creation grants from the Canada Council and the New Brunswick Arts Board for his Aboriginal Mask and Paddle creations. His artwork is represented in private and Canadian Government collections also, throughout Asia, Australia, England and the USA.

This artist’s participation in SOFA 2018 was made possible by Gallery on Queen, Fredericton, New Brunswick.

Justin Sappier

hkatuwin (The one who defends our traditions)

One Who Dwells in the Land of the Dawn

The one Who Sings

Justin Sappier, a Peskotomuhkati (Passamaquoddy)-Wolastoqey (Maliseet) woodcarver who lives in Island View, New Brunswick, is using his aboriginal arts and crafts, particularly woodcarving, to educate the world on Wabanaki (East Coast) aboriginal culture. Born in Perth Andover, but originally from the Passamaquoddy area , Justin carves to empower the local native culture and to bring it pride and recognition

Alan Syliboy

Mikmaw Woman Dancing - 16"x 20", acrylic on canvas, (framed), $2200.00

Red Caribou Under Yellow Sun - 16"x 20", acrylic on canvas, (framed), $2200.00

Alan Syliboy grew up believing that native art was generic. “As a youth, I found painting difficult and painful, because I was unsure of my identity.” But his confidence grew in 1972 when he studied privately with Shirley Bear. He then attended the Nova Scotia College of Art and Design, where 25 years later, he was invited to sit on the Board of Governors. Syliboy looked to the indigenous Mi’kmaq petroglyph tradition for inspiration and developed his own artistic vocabulary out of those forms. His popularization of these symbolic icons has conferred on them a mainstream legitimacy that restores community pride in its Mi’kmaq heritage.

He has shown his work in numerous group and solo exhibits all over the world, from Europe to Japan, as well as in Canada and the United States. In 1999, he was commissioned to design a 22kt $200.00 gold coin for the Royal Canadian Mint. In 2009, he was selected to participate in the Vancouver 2010 Venues Aboriginal Art Program at the 2010 Winter Olympics in BC, Canada, for which he produced several unique projects including a ninety-six foot mural, a six-foot Coca Cola Bottle, as well as a fifteen foot sculpture, a collaborative work between he and nine other artists. Later that year, he had the opportunity to present a portrait of Grand Chief Membertou to Queen Elizabeth II on her 22nd visit to Halifax, NS. His 2010 Film, “Little Thunder”, an animated collaboration between Syliboy, Director Nance Ackerman and Animator Paton Francis has been screened at numerous Film Festivals, and received the Best Animation Film Award at the First Peoples Festival in Montreal. In 2010, he was short-listed for the Lieutenant Governor of Nova Scotia Masterwork Arts Award. In 2011 Alan launched “The Dream Canoe” Animation. In 2012 Alan was elected to the Board of Directors for the East Coast

Music Awards. Alan’s band Lone Cloud won the 2013 ECMA award for “Best Aboriginal Album”. Alan’s highlight from many other activities was his 2013 mural installation at the Halifax International Airport. In 2014 Alan’s Thundermaker exhibit was short-listed for the Lieutenant Governor of Nova Scotia Masterworks of Art Award.

Braelyn Cyr

Snake up my sleeve

Braelyn Cyr was born in Campbellton, New Brunswick. She is a self taught aboriginal artist who works primarily with oil paint. She is currently studying at the New Brunswick College of Craft and Design in the aboriginal visual arts program. Cyr is focusing on bridging the gap between her heritage and modern day society through writing and illustrating children’s books and beading wampum pieces. She plans to not only teach the aboriginal youth to seek out their culture for guidance but give a glimpse at the mentality of aboriginal people to non aboriginal youth. Through language, imagery and continuing the tradition of creating commentary through wampum she hopes to spread a basic understanding on not only her Mi’kmaq culture but that of other tribes within the province she resides. Her first books will be published fall of 2018. Together with her books and the education she receives at NBCCD, she hopes to continue on to work as a art therapist, specializing in aboriginal youth care.

Tara Francis

Lobster ( jagej, pronounced Jagech) - porcupine quill

Moose (Tia'm, pronounced di-aam) - porcupine quill

Tara Francis is from Elsipogtog, is a recognized Aboriginal artist in New Brunswick. She specializes in porcupine quill art and silk painting but also likes working with 3-dimensional pieces. Tara’s art is overflowing with substance, quality, and spiritual meaning.

After graduating from High School , Tara received a bursary for art and an Aboriginal creation grant that became a pivotal moment in her career.

Tara practices the traditional technique of porcupine quill work but she doesn’t create traditional pieces. Traditional creations would consist of baskets, cradles, geometric patterns, berets, etc. Tara puts her own touch on traditional porcupine quill work by thinking outside of the box. For example, one of her proudest creations is ‘the moth’ which took over 100 hours of work to complete. “I like to see what I can do with the traditional materials and take it to a new level as far as the artwork that I come up with,” Tara explained. Tara’s art speaks to others because of her ability to dig deep into her own spirituality and apply it to her art. “New themes and images come to me with more spiritual moments and ceremonies I attend. They are all a part of the ride,” said Tara. “My connection with nature plays a big part of my practise “