Pe-kīwēwin: Confronting Commercialized Spaces with Stitched Relationality
As part of my dissertation work, I curated, installed, and presented a beadwork exhibit made up of 24 beaded pieces from research participants, and my own piece. The exhibit was hosted from August - October 2024, at the Indigenous-managed gallery, Massy Arts Society, which was based in the Chinatown neighbourhood of Vancouver, BC on Musqueam, Squamish, and Tsleil-Waututh lands.
The purpose of this exhibit was to share the findings of this dissertation research and to support the work of participating beadworkers. In this way, the exhibit meets the expectations of Indigenous research ethics, by supporting artists’ work directly through the research process. Further, this exhibit fulfils a potentiality of arts-based research, which is to share research findings beyond academic outlets.
The exhibit sought to challenge audiences to hold together the tensions inherent in modern beadwork: commercialization and sacredness; place-based and digitalized; ancient and futuristic. The exhibit held up relationality as the core value of contemporary beadworking communities. It included beaded pieces that spanned community-specific motifs and personal styles.
I acted as a facilitator and a weaver, actively looking for ways to bring stories together that have been shared by participating artists. Some of these stories sit side-by-side to reinforce the teachings and lessons of one another, while others are juxtaposed to draw attention to the tensions and contradictions inherent within the artistic practice.
As part of this exhibit, I collaborated with Vancouver-based Wet'suwet'en-Dakelh photodocumentation, Toonasa Photography. Toonasa documented both the installation and art exhibit opening event. These photos were gifted to all exhibiting artists.
I invited all participating artists to share a bio and artist’s statement along with their pieces. Below, you’ll find photos of the 24 exhibit pieces (all photos taken by Toonasa Photography) along with each artist’s writing. These are arranged in the order they appeared in Massy Arts Society’s gallery.
Krysta Furioso (Anishinaabe) - @onlychildhandicrafts
Anemki (2020) - Delica seed beads.
About the Work: This piece was Krysta's first foray into Woodlands art.
About the Artist: Krysta Furioso is Anishinaabe from Fort William First Nation. She has been beading since the age of 12, and currently lives on Salt Spring Island, BC.
Jean Marshall (Ahnishnaabe/English) - @marshall.childforever
New Beginnings (2024) - Delica seed beads, moose hide.
About the Work: For the past 7 years, Jean has been spending time learning how to tan moose hides, a traditional practice of the Anishinaabeg. She is still learning and is passionate about sharing her learning. Hide tanning has brought her to a place of belonging and has given her a purpose that she enjoys. Hide tanning is a beautiful way to (re)connect with self and community.This small work is a glimpse into the joy that beadwork and hide tanning brings into her life. She loves playing with colour & shapes. All of her work is a reflection of the gifts that the land offers.
About the Artist: Jean Marshall is of Ahnishnaabe/English descent, born and raised in Thunder Bay, Ontario. She is a band member of Kitchenuhmaykoosib Inninuwug, Big Trout Lake, Ontario, Treaty 9. She currently lives along the shore of Lake Superior.
Karla Lamouche (Métis-Cree) - @beadedgems
Beaded Gems signature studs - Delica seed beads, Swarovski crystal beads.
About the Artist: Karla Lamouche is a proud Métis-Cree woman from the Gift Lake Métis Settlement located in Northern Alberta (Treaty 8 Territory). Her Cree roots stem from the Lubicon First Nation. She is a mother of two boys, a beadwork artist and a social worker. Beaded Gems was created back in 2016. Karla considers her style as simple, contemporary and elegant. This form of beadwork art was passed onto to Karla by her mother, Bonnie Lamouche. Beading is something she loves to do; it’s her way of revitalization and connecting to both her Métis and Cree culture.
Ashley Carter (Mi’kmaw) - @ashleysometimesbeads
Billy’s Medallion (2024) - Beach-combed abalone shell, Charlotte cut 11/0 seed beads, 11/0 Miyuki seed beads, ss6 rhinestone banding, 32” hand-cut stainless steel chain, faux-leather vinyl.
About the Work: This piece was created in grief and in loving memory of my late Elder, Bill (Billy) Louis. Shortly before he passed, Billy asked me to make him a medallion and I agreed to bring my beads on my next visit. Billy passed into the spirit realm before we could meet again, and so I endeavoured to finish the project as a way to stay connected to him. I will wear this medallion in his memory, while honouring the teachings he gave me in the time that we had together.
About the Artist: Ashley Carter (she/they) is a student and artist living in Halifax. They are Mi’kmaq, originally from Corner Brook in Ktaqmkuk, and moved to the mainland in Mi’kma’ki for university. Ashley uses a single-needle beading method to create flat-stich beadwork. They create colourful, contemporary beadwork pieces which they sell via their business, Ashley Sometimes Beads, to support herself while studying. Ashley endeavors to incorporate natural materials such as beach glass, shells, birch bark and wood into their beadwork and is an avid beachcomber.
Modeste ‘Monday’ Zankpe (Ewe-Secwépemc) - @mondaymayjewelry
Strength in Stillness (2024) - Miyuki Delica beads, Charlotte cut beads, brass beads, crystals, Swarovski crystals, felt, polyester flowers, rabbit fur, Nymo thread, Firewire.
About the Work: Monday May Jewelry (MMJ) is an Afro-Indigenous jewelry brand reflecting Monday's diverse heritage. Her designs combine traditions, symbols, and stories from her Secwépemc and Ewe heritage. You can also see elements inspired by her decade-long career as a showgirl in her pieces.
About the Artist: Modeste comes from a mixed background. She is Esk’etemc of the Secwépemculecw (Secwepemc Nation) on her mother's side, and from the Ewe people of Togo on her father's side. She is the daughter of Sandra May Zankpe (Robbins) and Messan Kodjo Zankpe. In her father's Ewe culture, children are named after the day they are born, so she is often referred to as ‘Monday’. Monday is a celebrated burlesque artist, model, advocate, and activist. In 2020, she was invited to join the award-winning burlesque group Virago Nation, a group of Indigenous performers fighting to reclaim Indigenous sexuality from the toxic effects of colonization. During the pandemic, when public performances were halted, Modeste founded Monday May Jewelry. This was a challenging time for her as she had just lost her mother to cancer and was dealing with a life-changing autoimmune condition. Creating jewelry became a source of comfort for Monday, helping her stay connected to her cultures and her mother's memory.
Lynette La Fontaine (Métis) - @otipemisiwak_artist
Untitled (2020) - Moose hide, velvet ribbon, seed beads, lace, cotton fabric, nylon thread.
About the Work: This work is beaded using embroidery style, lazy stitch beadwork and picot edging beadwork. It is also hand sewn.
About the Artist: Lynette La Fontaine, otipemisiwak artist, creates traditional and contemporary Métis artwork in the forms of beading, tufting, whitefish scales and painting. They taught themselves to bead while attending university and working with Métis Elders in 2007. Since this time, they have been gathering teachings from knowledge holders and Elders through formal and informal mentorships with the intent to maintain and pass on this knowledge to future generations. Their work is inspired by connection to the land, heart, spirit, ancestors and Métis cultural teachings. The Métis are known historically as “The Flower Beadwork People” as a result of the elaborately beaded, floral designs on garments and personal items. Lynette’s work honours this identifiable way of beading in all their unique designs. While the traditional and contemporary beadwork and other art forms are focused, time intensive and detailed, their paintings are colourful, large scale, and abstract. Lynette preferences acrylic paints and inks on large canvases. The paintings incorporate movement, intuition, ceremony and play. The final results are complex due to the many layers of storytelling and mark making in their process. Lynette was raised on the traditional territory of the Stellat’en and currently resides in Tsarlip and W̱SÁNEĆ territory. Their Métis roots are in northern Saskatchewan and the historic Red River settlement. Some of their Métis family names include Morin, Pruden, Mirasty, Vandal, Roy, and Laliberte. Their work has been exhibited by Two Rivers Gallery and the Omineca Arts Centre in Prince George, BC, the yəhaw̓ collective in Seattle, WA, USA, and the UVic Legacy Gallery in Victoria, BC. In 2018, they were an artist in residence with Studio 2880. Their art can be found in personal and organization collections.
Cheyenne Sparks (Choctaw) - @twosparkscc
Tohwikeli (To shine and radiate light) (2024) - Seed beads.
About the Work: Beading is a tradition Choctaw people have carried forward over many generations. Even though the types of beads and patterns have changed over the years, we still associate value and meaning with the beauty of beadwork and the painstaking labor involved in its creation. Beaded collars are a form of net beading that can be worn both with regalia or casual clothing. The stitch is used to create large, draped, net-like necklaces worn by both men and women around the shoulders. This youth sized beaded collar was created for my daughter with starburst designs that represent light, warmth and the life-giving properties of the sun. She is a shining example of the next generation of our tribe and this piece was created to showcase that.
About the Artist: Cheyenne Sparks is a registered artist within her tribe, the Choctaw Nation of Oklahoma. She obtained a Bachelor’s of University Studies at Oklahoma State University in 2015 specializing in Agricultural Communications, Animal Science and American Indian Studies. In 2021, Cheyenne graduated from the University of Oklahoma College of Law with a Masters of Legal Studies in Indigenous Peoples Law. As a past member of the Chickasha Johnson-O'Malley Program, Cheyenne gives back by hosting beadwork and cultural classes at local JOM Programs for both elementary and high school students. She has a passion for spreading joy through both modern and traditional beadwork and is always looking to share her heritage through her art. Cheyenne makes her home in Oklahoma with her husband and two children. Her favorite part about beading is teaching her children how to bead and creating with them.
Amanda Morin (Anishinaabekwe) - @zhawenjigebeadwork
Eagle Clan Grad Medallion (2019) - Seed beads, metal rhinestone banding, Pellon.
About the Work: The piece I have submitted is my graduation medallion from my first Bachelors degree. I have included the roman numerals for 2019, the year I graduated. I also included an eagle feather on a sunset backdrop, as I am eagle clan, and sunsets are profound beauties that has always given me a sense of joy and wonder. This medallion meant a lot to me as it took me six years to complete my degree, and connecting with my family and culture through beadwork gave me strength and resilience to persevere to the finish line.
About the Artist: Aanii, boozhoo! My name is Amanda Morin, I am Anishinaabekwe from Wikwemikong Unceded Reserve on Manitoulin Island. I grew up in southwestern Ontario with my mom of European descent, disconnected from my culture. I learned to bead at Western University’s Indigenous Student Center in 2016, and have been honing my craft, reconnecting with my culture and reconnecting with my family ever since.
Sarah Hannon (Mi’kmaq/settler) - @fat.bird.weaving
Tewa'lutewe'l najimawo'tunej (let’s go gather dandelions) - Size 15 glass seed beads, and rubber heishi beads on Melton wool, cotton, satin.
About the Work: This is my first completed original beaded hood design, crafted from melton wool, size 15/0 Japanese glass seed beads, cotton liner, satin ribbon, and rubber heishi beads. The matching scrollwork on either panel follows the style of 19th-century Mi’kmaw scrollwork, while the design on the back was a last minute addition. The yellow beads remind me of a sea of opening dandelions in spring, while the blue wool evokes the ubiquity of water in all living things.
About the Artist: I am a Mi’kmaq/settler and two spirit beadworker from ktaqmkuk (Newfoundland). I started out beading earrings six years ago and gradually branched out to traditional Mi’kmaw and Wabanaki scrollwork hoods and floral bags. Much of my work is strongly guided by 19th-century ancestral pieces, and I enjoy working with trade materials and blending old and new techniques. For me, beadwork is absolutely medicine, it has carried me through a lot over the years and it is both highly personal and relational, while simultaneously allowing me to support myself and others.
Dani LaValley (Métis) - @deadly.beads
Fire medicine (2023-2024) - Smoked moose hide, smoked bison hide, assorted seed beads, freshwater pearls, deer antler, bison sinew, thread, thread guards, jump rings, wire, ribbon, cedar, tobacco, sweetgrass, sage, red cotton.
About the Work: Fire Medicine was created during my time with Sâkêwêwak Artists’ Collective and their beading group Opulence: We Bead Everything Too in Regina, SK. On one side of the bag there is a blazing wildfire under a star filled sky. The flames burn everything, including the medicines of the land. Sage is being burnt in these flames, creating a catastrophic smudge. On the opposite side, the Grandfather rocks and ash that the fires left behind sit quietly in front of a rising dawn. These Grandfathers and ashes start to cool and become protectors and nourish the land as a new day begins. These opposing sides represent how fire can be both destructive and healing, and should remind us all to set our intentions when working with fire. Both sides are connected via roots, which remain untouched by fire. This is a message to all that fire can take away many things from us, but it also has the capacity to give back. It gives us a chance to regrow with a stronger and well balanced root system. Protect your home fires, watch for wildfires, heal with controlled fires, and pray into sacred fires.
About the Artist: Dani LaValley is a Michif, Cree, and settler mixed artist and educator from Treaty 6 territory. LaValley’s family comes from Crooked Lake, Cowessess First Nation, Prince Albert, and Regina. They have been a self taught beadwork artist since 2016, and have used the artist name Deadly.Beads online since 2021 to share their beading journey. LaValley’s art is inspired by their cultures and their relationship with the land. Their love for the arts continues to expand with every project. Dani LaValley currently lives, teaches, and creates on Treaty 4 territory.
Jennifer Rokaya Sedgewick (Métis) - @SecondLoveBeads
Carrying the flora and fauna of the Homeland (2024) - Glass seed and bugle beads, 24k gold-plated fire-polished beads, antique French steel-cut beads, fishing line, and polyester felt and bias tape.
About the Work: For the past two years, I have lived away from my homelands in the Prairies, having moved to Tkaronto/Toronto for graduate school. Reflecting upon this move brings up feelings of ambivalence – progressing my career while getting the privilege to live in a metropolitan city, with new people to meet and adventures to experience, but at the expense of leaving my homelands and steadfast support systems. Earlier this year, I was part of a workshop that involved designing and creating a beaded bag. Knowing that I would use this bag in everyday life, I created a design that, despite the distance, I would have a visual reminder and connection to some of my Prairie favourites: the sweet strawberries and Saskatoons, wild thistles that remind me of my Grandma Bryar, and the bison rematriation out at Wanuskewin.
About the Artist: Jenn is a Michif/Métis (citizen of Métis Nation - Saskatchewan; Local 126) and Canadian settler who is loud and proud to be from the Prairies. Born and raised in Saskatoon (Treaty 6/Saskatchewan), Jenn's Michif family names include Fiddler, Henry, and Delorme, and her ancestral communities include Nordale/Prince Albert, Fish Creek, and Batoche. Despite always being the "artsy" type and dabbling in many mediums, Jenn became enthralled with beading in December 2019 after taking a fringe earring class from Keith Sunchild. Beading almost every day since then, she has prioritized the very Métis practice of using secondhand, upcycled, and found materials into her beadwork. This practice informs the name of her beading business – Second Love Beads.
Audrey Medwayosh (Anishinaabe) - @waawaate.beads
Untitled (2024) - Seed beads, deer antler.
About the Work: I made this hanging with antler shed from my grandparent’s land. There are 8 points of connection between the piece at the centre and the prongs of the antler - 4x2 for our 4 sacred directions and 8 legs of the weaving spider woman. This piece explores the endless cycles of life and death that we are in, and have been in, alongside our ancestors since time immemorial. The lines that connect our ancestral knowledge and medicines (the beads) are intricately woven around bones of my homelands and to our non-human relation, waawaashkeshi. It is meant to serve as a reminder of who we are as Indigenous Peoples and where we come from, despite all the things colonization has taken from us. We are more than just colonial oppression, we are intergenerational joy and memory.
About the Artist: Audrey Medwayosh (they/she/he) is Anishinaabe and a citizen of the Wasauksing Nation in Parry Sound, Ontario. They grew up on the west coast because of the impacts of the 60s Scoop on their family’s lives. They have always been an artist but truly flourished when they learned how to bead in the summer of 2020, with the help and encouragement of their beautiful, talented Aunty. Beading has become a form of cultural revitalization and ancestral connection for Audrey, who works to blend contemporary and traditional practices within a framework of mind, body, spirit and emotion. Balance has always been key to their practice, even when running their beading business.
Tashina Miranda Ornelas (Coastal Luiseno and Mountain Cahuilla) - @coyote_beadz
CoyoteHeart - Seed beads, hat.
About the Work: The ‘CoyoteHeart’ beaded hat was a collaboration with San Diego hat company ‘The Clinkroom’. Miranda envisioned beading a hat with a specific relationship to Luiseno/Cahuilla People. The concept design was to create a hat that would share an aspect of Creation Story that many Southern People would relate to. ‘CoyoteHeart’ reflects the point in Creation where Coyote becomes so overcome with grief that he jumps into the fire, where his beloved Creator is being cremated, and runs off with his heart to devour it. The diamond pattern beadwork complementing each collaborated hat is one of a kind. You can find more information on Miranda’s beadwork on Instagram @coyote_beadz.
About the Artist: Coastal Luiseno and Mountain Cahuilla, Tashina Miranda was raised in the San Jacinto Valley located in the foothills of Southern California. Tashina Miranda has 8 children with her husband Chris Ortiz (Cahuilla) and they live on his home reservation of Los Coyotes located in the mountains of northern San Diego, County. Miranda has been a Cultural Educator, teaching various courses in ‘Land-based Education’ at Noli Indian School, an all native 6-12th grade school located on the Soboba Indian Reservation for the past two decades. Beading, as Medicine, was taught to Miranda by various family, friends and students over the years.
Janet Antone (Oneida Nation) - @Ms.antonesbeadwork
Intersectionality (2024) - Seed beads, thread.
About the Work: How do we define what makes us, us? Especially as Indigenous people. If we separate every aspect of ourselves, are we still valid? What if we were to instead celebrate all facets of ourselves and enjoy the ability honour the intersectionality that’s makes us, us? This piece is created with seed beads and thread; it was woven with the peyote stitch & looped fringe techniques.
About the Artist: Ms. Antone's Beadwork is fine wearable art handcrafted by Janet Antone, a proud member of the Oneida Nation of the Thames. Creating dynamic and contemporary beaded earrings, using vibrant colourways and detailed designs, Ms. Antone’s beadwork is beadwork made for everyone, including both pierced and non pierced ears. She has showcased her work at many markets across Southwestern Ontario, she also co-created Pow Wow Alley at Punk Rock Flea Market. Both Janet and her work have been featured on Global News, CBC, Rutherford Falls, Letterkenny & Shoresy. She was also merit-mentioned in Vogue and recently featured in the London Chamber of Commerce’s annual book entitled “shared waters” in 2022.
Emily White (Klahoose and Tla'amin) - @emilys_beading
'sxway xway .' (2022) - Seed beads.
About the Work: This piece is titled 'sxway xway .' sxway xway was a mask dancer who was unique to the ʔayʔaǰuθəm speaking peoples and held an important role in community. This piece took over 30 hours of beading to complete, and is comprised of 3144 beads. This piece was inspired by a pictograph (pictured right) in Klahoose Territory. Image provided by the artist.
About the Artist: Emily White (she/her) is from Klahoose and Tla'amin Nations. She resides in Tla'amin territory and her art is largely inspired by the land, and the lived histories of her people.
Carrie Moran McCleary (Little Shell Chippewa) - @plainssoul
Plains Soul Beaded Logo Pony; Series 1; Number 4 - Seed beads, ledger, trade cloth wool, sage.
About the Work: My multi media beadwork, ledger, trade cloth wool and sage shadow box is a 3-D version of my company logo. I started adorning sage with a rawhide version of this horse in the early 1990s. The image became my company logo when I started in 2016. He was inspired by my families Indian Relay Team horses. He bears traditional ‘painting’ including horse tracks on the shoulder which meant that the owner had captured enemy’s horses, the circle around the eye meant he had medicine to see better in battle, the polkas dots on the rump meant the they has fought a battle in hail or snow, lightening stripes on the legs are horse medicine, and stripes on the legs represent another horse medicine. The sage is an item we use to cleanse and grace homes. This sage is what we call Womans Sage. The Ledger paper is from a ledger book of a laundress in the 1930s here in Montana. I liked that it was page 49!
About the Artist: Carrie Moran McCleary is a beader, fashion designer and doll maker from the Little Shell Chippewa Tribe living on the Crow Reservation. In 2016, she founded Plains Soul to share her unique style and artistry with a wider audience. Moran McCleary is known for Indigenizing everyday items. She learned to bead and sew from her mother, then began customizing thrift-store finds and hand me downs, transforming them into works of art and expressions of her identity. She is a 2022 First Peoples Fund Artist in Business Leadership Fellow, and two time recipient of the Montana Indian Equity Grant who built a studio and retail space utilizing these funds. Plains Soul fashions have shown at the Native Fashion in the City, Honour Our Legacy, Big Sky IndigiFest and Fashion Gala, Montana Folk Festival Fashion Shows and numerous community shows at local schools and fundraising events. Moran McCleary is a former member of the b.Yellowtail collective where she sold her Fierce One Doll Collection. Her beadwork has shown at The Brinton Museum, the Emerson Art Center, Chicago Field Museum, Museum of the Rockies, The Yellowstone County Museum, The Carnegie Museum of Pittsburgh, and currently the Missoula Art Museum, and the Rock Your Beads dot com online show. Her work is in the permanent collection at The Brinton Museum and the Children’s Museum of Indianapolis. She’s showcased her work at the Heard Museum Indian Art Market, the Eiteljorg Indian Art Market and Festival and the Montana Folk Festival First People’s Market. McCleary works from her backyard studio with her husband, kids and grandkids nearby.
Blanche Sam (Athabascan and Inupiaq) - @brilliantbeadsbyblanche
Dentalium Shell Fringe Earrings - Delica seed beads, dentalium shells, crystal bicone beads.
About the Artist: Born to Athabascan and Inupiaq parents from the remote villages of Alatna and Hughes, Alaska, along the Koyukuk River. She was raised in Hughes, Alaska and grew up with predominantly Koyukon Dene’ (Athabascan) traditions and culture. She is the owner and operator of Brilliant Beads by Blanche, a small business in which she sells her beadwork (mainly earrings). She was taught to bead and sew from her grandmothers at a young age, in a program funded by the school. She is the mother of an amazing girl, Harper Cadzow. She has two associate’s degree one in Professional Piloting and the other in Applied Accounting. In December 2022 she also earned a Bachelor of Arts degree in Art from the University of Alaska Fairbanks with an emphasis in Metalsmithing. Beading and creating jewelry is therapeutic to Blanche. It connects her to her culture, her ancestors and gives her a sense of purpose. It is an outlet for her creativity.
Marissa A. Magneson (Cree-Métis) - @magnesonstudios
Lii Kaatr (2024) - Seed beads, Melton.
About the Work: "Lii Kaatr," (2024) was created in response to the Métis National Council's Climate Strategy Art Competition, calling artists to reflect upon their personal connections to the land and waters, and how climate change impacts these relationships. Weaving together personal narratives with the four directions, seasons, medicines, and life stages as well as Métis identity and kinship, "Lii Kaatr," was created to honour relations from the land and water, emphasizing the importance of finding balance within ourselves, each other, and the environment.
About the Artist: Marissa Magneson is a Cree-Métis artist, photographer, educator, and workshop facilitator. She holds a BFA honours degree from York University and a Master’s degree in Canadian and Indigenous Studies from Trent University. Her Master's re-search explores Indigenous methodologies using beadwork as visual storytelling through the creation of a fully beaded pair of moccasins, detailing stories of her ancestors, herself, and her journey as an Indigenous graduate student. Marissa's work is rooted in decolonizing education, strengthening community and cultural reclamation. In her collaborative work with various organizations, Marissa works towards photographing, consulting, educating, and creating programming in meaningful ways. Marissa would like to acknowledge her maternal Métis grandmother, Elaine Jessop, whose life-long work on Indigenous women’s rights inspires her own journey. Marissa was recently recognized for her community leadership by York University's Top 30 Alumni Under 30 and is currently pursuing her Ph.D. in the Faculty of Education at York where she is researching “Beadwork as Pedagogy: A Bridge Towards Cultural Reclamation and (re)Conciliation.”
Jamie Thompson (Métis) - @birchandbeads
Beading Heart (2022) and We Are All Born Into Reciprocity (2023) - Seed beads, Pellon.
About the Work: Her first contributed piece, Beading Heart (2022), was her first foray into a more realistic anatomical depiction, with detailed shading that reveals depths of the organ often only glimpsed in surgery. Her second contribution to this gallery, We Are All Born Into Reciprocity (2023), was devised after her decision to go into the field of obstetrics & gynecology, demonstrating the connection of all humans to those who nourish and house us, which includes our beautiful planet.
About the Artist: Jamie Thompson (she/her) is a Métis resident physician at the University of Calgary whose Métis familial roots stem from the MacDonald family in Fort McMurray, Alberta. After learning beadwork from Mitch Case at a Métis Youth gathering in the summer of 2020, she felt drawn to the craft as both an expression of artistry and medical knowledge as well as a way to occupy her hands during the long screentime hours of schooling during the pandemic. Thompson makes her anatomical beadwork pieces to bring awareness to Indigenous discrimination in healthcare and uses profits to give back to Indigenous health and community initiatives. To her, beading represents connection, reconnection, inspiration, and scientific-cultural cross communication. She hopes her work honors the many incredible Indigenous healthcare providers and scientists making waves in their fields, as well as inspires non-Indigenous providers to continue centering Indigenous health and affirming the lived experiences of Indigenous patients.
Lydia Toorenburgh (Métis) - @mihkostikwan.beads
Gifts from my kin - Glass and metal beads, “caribou” (reindeer) fur, artificial sinew, Nymo thread, Fireline thread, Indigenous-harvested black bear fur, hand dyed wool, gold-plated findings, blended medicines.
About the Work: These earrings are called “Gifts from my kin” because all the techniques I used were teachings from my kin and I was challenging myself to put their lessons into practice and make them proud. Each petal is made of one light and one dark tuft and the centre is one tuft of “caribou” (reindeer) fur purchased from and dyed by Métis artist Mara Kersey (@made_by_mara_metis_artist). I learned how to tuft and to back earrings with fur from Métis artist Lynette La Fontaine (@otipemisiwak_artist) who also taught me about the use of metal beads in ancestral Métis beading. I purchased the wool backing from a local store by recommendation by Métis artist Sheena Gering (@renegaderoseartistry). Finally, they have medicines inside from my community. Connecting with the materials from our more-than-human kin, the techniques from my community kin, and the aesthetics of my ancestors made making these earrings as meaningful as it was challenging. Making something beautiful out of the gifts from my kin is one way I celebrate and uplift my kin, my myself and my learning, and our rich culture.
About the Artist: Lydia Toorenburgh is a Two-Spirit Métis and mixed settler person living as a visitor on Lək̓ʷəŋən territories (Victoria BC). Lydia is an artist who works in many mediums including beadwork, sewing, other fibre arts, collage, drag, and music. They are a PhD student at the University of Victoria working in the areas of Indigenous and Métis studies, LGBTQIA+ and Two-Spirit studies, audio-visual and sensory anthropology, and participatory and community-engaged research. Lydia is a Vanier scholar, affiliated with the Two-Spirit Dry Lab, and involved in Two-Spirit, Indigiqueer, and Métis leadership at the regional, provincial, and national level. As artist and scholar, Lydia thanks their mother who is a ceramic artist and Med graduate, and who instilled Lydia with skill in and love for the arts and academia.
Nick Henry (W̱SÁNEĆ) - @beadingbynick
Rainbow Cloud (2021) - Seed beads.
About the Work: The piece here is a rainbow cloud which is a part of my cloud series. The cloud series includes the original Rain cloud, Snow cloud and the Rainbow cloud. You can view the other two on my instagram page @beadingbynick. I originally wanted to submit all three but I ran out of time. I came up with the rain clouds one day because I purchased a hank of blue bugle beads one day and while I was staring at it, it reminded me of rain drops. So I went home and was trying to figure out how to make an abstract cloud design. For the bottom base row of the cloud, I double the seed beads and for each new row I only use one bead. For each new row I either don’t complete the row of beads or I go over by one or two beads on the left or right side. Once completed it looks like a cloud. Then I add the fringe. For the rain clouds I add one seed bead between each bugle bead, for the snow cloud I add a random amount of clear Delica beads between white seed beads to make it look like snow falling from the cloud, for the rainbow cloud I just add colours of the rainbow.
About the Artist: Y SȻÁĆEL HÁLE! Nick TŦE NE SNÁ. Ć,SE LÁ,E SEN EṮ W̱SÁNEĆ. Good day everyone! My name is Nick and I am from the W̱SÁNEĆ Nation. I have been beading since January 2019. I enjoy playing around with colours, mixing and matching. I have come up with a few signature designs such as the chevron design, and the cloud series. I also love creating a piece that is specifically for someone (a family or friend) I put so much intent into the design, thinking of their favourite colours etc. I have pieces that are named after family and friends because I either made that piece for them for their birthday or Christmas.
Crystal Lepscier (Little Shell/Menominee/Stockbridge-Munsee) - @c_leah_turtle_designs
Tobacco Purse I (2024) - Size 11 seed beads, charlotte cuts in white, green, blue, smoked hide.
About the Work: This smoked hide tobacco purse is a contemporary commentary on women's role in the care and exchange of this medicine. The front beadwork design is inspired by historical woodland loom pieces, meant to represent plant growth. The colors blue and green were selected as the representation of important elements to the growth of each plant, blue for water, green for earth. Balance is important of course, and as a caretaker it's imperative that we get the ratios correct to help our plant relatives flourish. When we carry this responsibility, we must take care.
About the Artist: Crystal Lepscier (Wāqsepāēhketūkiw) is an enrolled member of the Little Shell Band of Chippewa of Montana. Her mother is enrolled Stockbridge-Munsee and father (kaeh nap) is enrolled Menominee, making her a direct descendant of both Wisconsin tribal communities. Crystal’s beadwork and other art captures her connections to these woodland tribal communities while interacting with contemporary colors, shapes, and designs. Her art offerings include small beaded earrings, beaded pendants, and other beaded items. She has started to incorporate quills into a few of her designs. Each of her beaded items are unique and she typically does not duplicate them. She received her Bachelor of Fine Arts (B.F.A) in 2005 from UW-Madison in Studio Art with a focus on painting. Working at the Smithsonian Institution’s National Museum of the American Indian (NMAI) inspired her to get more involved in beadwork. She returned to UW-Madison to complete graduate studies, earning a Master’s degree in Educational Leadership and Policy Analysis (ELPA) in 2011. She recently earned an Educational Doctorate (Ed.D.) in First Nations Education from UW-Green Bay (May 2022). She strives to connect art and education and focuses her research on how we can tap into our cultural practices to aid in relationship building and healing work in our communities. Crystal mixes her passions for art and education, and continues to work in community spaces which allow for these types of collaborations. Creating art is cultural nourishment for Lepscier. Crystal, her husband Justin, and their two children reside in Shawano WI. In her spare time, she enjoys reading, beading, and spending time with family.
Cecilia Elizabeth Best (Métis) - @ceciliaelizabethbest
Deconstructed Medicine Wheel (2022) - Seed beads, cabochons, felt.
About the Work: Deconstructed Medicine Wheel was created at the height of the COVID pandemic in Waterloo, Ontario. In 2022 I was isolated in a way that was relatable to the global population. Two years later, I feel isolated again however this experience is not universal. I am isolated because I am almost ready to defend my PhD dissertation at York University. In 2024, my journey mirrors Jordyn Hrenyk, the curator of this exhibit. Deconstructed Medicine Wheel is in Jordyn's possession because I believe in her and the work she puts into the world. We find inspiration in unexpected places and I'm grateful to cheer for Jordyn from afar. Deconstructed Medicine Wheel is about process. Healing is not linear. Look for balance over time. Process is beautiful too.
About the Artist: Cecilia Elizabeth Best is a queer, anglo-Metis Scoop survivor and historian. Cecilia Elizabeth's family is affected but not defined by addiction, poverty, violence against Indigenous women, and the child welfare system. Their work reflects historical research and lived experience from Saskatoon, Saskatchewan to Waterloo, Ontario.
Jordyn Hrenyk (Métis) - @beaded_dissertation
41 Teachers and Murmurations (2021, 2024) - Seed beads, Pellon.
About the Artist: Jordyn Hrenyk is a Michif (Métis Nation Saskatchewan, Local #7) researcher and wannabe beadworker. She studies Indigenous entrepreneurship, and in particular, she has just written a dissertation about the Indigenous beadwork market on Turtle Island. Janet (@ms.antonesbeadwork) was Jordyn’s first beading teacher and she is forever grateful for those lessons. Jordyn loves Indigenous beadwork Instagram so much, that she literally got a PhD in it.
About the Work: On May 27, 2021, at the height of my data gathering for my dissertation focused on Indigenous beadwork, “Tk’emlúps te Secwépemc confirmed an unthinkable loss that was spoken about but never documented by the Kamloops Indian Residential School”. It was a news story that was shocking without being surprising. And in the world of Indigenous academia, it was hard to know the right thing to say or to do. I had interviews scheduled, I had emails to answer, I had Zoom calls to attend. In the midst of a confusing kind of grief, I created this fringe earring design, and then I created four more of the same pairs. I had never recreated a design before, but something about this design enabled my Spirit, and my heart, and my hands, and my mind to reconnect. Three years went by, but not a day passed when I did not think about beads, beading, or beadwork. When I realized that my project was coming to an end, my mind separated from my hands, from my heart, from my Spirit again. So, I turned back to this design to re-member what I had learned. To place stories and ideas and values alongside one another, but to let them keep their names. Every night for weeks I created one earring in this collection; there are 41 pairs here (including one of the original 5 pairs), and each pair represents time spent and stories shared with each of 41 beadworkers who participated in my project. You learn a lot by creating a new design; there’s more to learn if you do it 40 more times.
Towards the end of the work, you’ll find Murmurations. This is a piece I made to serve my dissertation research. I’d tell you that story too, but the dissertation is 262 pages, so for now, I’ll just say this story is not mine, it’s ours. Indigenous beadworkers are changing the way business can be done. We/they are finding each other and finding new (old) ways of pimachisiwin, “making a living with the land” (Ghostkeeper, 1997).