Welcome to the Office of Indigenous Affairs

Architect & Artists

First Peoples House Architect:

Alfred Waugh (Chipewyan)

Some of the Featured Artists:

Rande Cook (Kwakwaka'wakw)

Rande Cook was born May 26, 1977, in Alert Bay, a small fishing village rich in culture and traditional values, located on Cormorant Island, along the northeastern coast of Vancouver Island. He was raised by his grandparents Gus and Florence Matilpi, and takes the Sun, Kolus and Sisiutul as his predominant family crest symbols. While growing up, he and his grandfather observed and discussed the traditional art forms of his Kwakwaka'wakw, and he was especially drawn to the ceremonial masks and art of the potlatch.

In 1991, Cook moved to Victoria to attend high school. Throughout this time, his passion for the arts grew stronger, as did his talent. He worked at perfecting both Aboriginal and Western forms of art. Consistently drawn to the strong classical form of Northwest Coast art, he studied the styles and form‐lines of the different nations, focusing primarily on the northern tribes of Vancouver Island.

Cook apprenticed with master carver John Livingston, husband of his aunt Maxine Matilpi. Livingston took him under his wing and helped open opportunities for himi n the world of woodcarving. Cook has recently become skilled at jewellery making, influenced by the work of his cousin Patrick Seaweed and his brother William Cook Jr., who are both jewellers. His own unique pieces, deeply carved and with cutout forms, maintain the traditional motifs of his heritage.

Cook resides with his family in Victoria, where he is inspired by new ideas and new acquaintances. He continues to strive for diversity and originality, and his imaginative pieces push the envelope of traditional Northwest Coast art.

Rande Cook's work can be found in the Ceremonial Hall in the First Peoples House. These panels are made of hand sandblasted red cedar from an original design, set into a cedar beam and hand painted. They display the same design, form and colour in reverse. Commissioned by the University for the First Peoples House.

 

Moy Sutherland (Nuu-chah-nulth)

Morris, (Moy) Sutherland Jr. is of Nuu-chah-nulth ancestry. His family roots radiate from the Tla-o-qui-aht and the Ahousaht First Nations. Moy holds two Native names. His Nuu-chah-nulth name is "Hiish Miik," which means "someone who gets whatever they are going after." His second name is "Chiotun," a respected name that comes from the Coast Salish village of the Sliammom, and translates as "someone who helps."

Born in 1974, Sutherland grew up steeped in his Nuu-chah-nulth culture and traditions. As a young man, he worked in the forests of British Columbia, a setting in which he has always found strength and peace. To this day, his greatest sources of inspiration are provided by his culture and his environment.

In 1995, with encouragement from family and friends, Sutherland began his artistic career in Alert Bay. There he learned the principles of carving from Joe Wilson, a Kwakwaka'waka artist. Upon mastering the basic techniques, he moved to Port Alberni. He learned more about the Nuu-chah-nulth art styles from his uncle Mark Mickey, also a well-known carver. In 1997 he worked alongside his friend, Kwagiutl artist Carey Newman at Newman's Blue Raven Gallery in Sooke. During this time he learned the fine art techniques of jewellery making. In 2000, Sutherland began an apprenticeship with the world-renowned Nuu-chah-nulth artist Art Thompson. They thrived in their artistic partnership together until Thompson's death in March 2003.

While working together, Moy furthered his understanding of the principles of carving, jewellery making, totem pole carving, bentwood box making, sculpture and articulating masks. He gained an in-depth understanding of the expression of Nuu-chah-nulth values in the design structures of Northwest Coast art and learned the cultural significance of the specific carvings he completed under Thompson's guidance. His mentor leaves a continuing legacy on Sutherland's artwork.

Training with both Kwagiulth and Nuu-chah-nulth artists has helped broaden Sutherland's understanding of all Pacific Northwest Coast Native art forms. Although he is careful to stay within the traditional rules and values of his culture, he strives to find ways to set himself apart from other artists. He is currently exploring a variety of media, such as gem-setting in gold and silver, silkscreen printing, stone sculptures and totem pole carving.

Moy Sutherland's work can be found in the Ceremonial Hall in the First Peoples House. These panels are made of hand sandblasted red cedar from an original design, set into a cedar beam and hand painted. The panels display the same design in reverse. Red is the dominant colour on one, black on the other. Commissioned by the University for the First Peoples House.

 

Luke Marston (Coast Salish)

Coast Salish artist Luke Marston was born in 1976 to Jane and David Marston. He grew up in a family of artists and has been carving since he was a child. His parents are experienced carvers who provided Luke with his introduction to the art and skill of carving. When he began carving Marston also sought guidance from Haida/Nisga'a artist Wayne Young who taught him about detailed finishing and refined form and design.

A stone-carving symposium on Salt Spring Island, in 1998 introduced Marston to this medium. He continued his education with Coast Salish elder, Simon Charlie, from whom he learned about his people's history and traditional stories. In 1999, Marston assisted Charlie with the carving of four house posts for a public school in Seattle, WA. Recently he worked with Jonathan Henderson and Sean Whonnock on a totem pole for the Royal British Columbia Museum's (RBCM) Thunderbird Park in Victoria.

Marston spends his summers demonstrating carving at the RBCM with Kwakwaka'wakw carver Shawn Karpes. Much of the artist's time is spent studying the museum's archives and historical collections. Through his work, Marston wants to preserve his culture and share it with the public.

Luke Marston's work can be found in the Ceremonial Hall in the First Peoples House. These four panels are hand sandblasted red cedar, set into a cedar beam from an original design and hand painted with acrylic paint. His panels display two different designs, with each one presented in reverse, creating four different panels. His colour scheme comprises grey, red, green, white, and blue. The panels were commissioned by the University for the First Peoples House.

Two of the panels depict a heron with a frog in its wing and the other two depict an eagle and salmon.

 

Doug Lafortune (Coast Salish)

Coast Salish artist Doug Lafortune was born in Bellingham, WA, in 1953. After attending school in Victoria, he studied Fine Arts at Camosun College in 1970. Uncertain of his future path, he enrolled in a heavy equipment operators' course and worked in logging until 1972. A visit to Simon Charlie's workshop in Koksilah, sparked a desire in Lafortune to pursue the arts. Charlie, a world-renowned artist, inspired and encouraged Lafortune to pursue his artistic talents. Charlie's knowledge of the Coast Salish art and cultural history provided a solid foundation for Lafortune's approach to sculpture. He developed a unique and distinctive contemporary style based on classic Coast Salish design.

Whether carving a massive totem pole or masks, feast dishes or small figures, his love and appreciation of carving can be seen and felt in the wood.

Lafortune was honoured with a commission to carve a Salish Welcome Figure that was presented to HRH Queen Elizabeth at the Opening Ceremonies of the XV Commonwealth Games in Victoria, in 1994. He was also commissioned to paint a backdrop Dance Screen depicting the Thunderbird and Killerwhale measuring 12ft x 25ft, to be used at the CulturalVillage at the Lauwelnew Tribal School.

His numerous designs have led to the release of several silk-screened prints and garments. One of the most outstanding is New Beginning, depicting the classic Thunderbird and Killerwhale, which is used as an identifying hallmark of original Coast Salish handcrafted work.

Doug Lafortune's work can be found outside the main entrance to the First Peoples House. His work presents two traditional freestanding cedar welcome figures. They are approximately 12 feet in height. When facing the entrance, the figure on the right is of a traditional Coast Salish man with a boy. The figure to the left is of a traditional Coast Salish woman and child. The welcome figures were commissioned by the University of Victoria for the First Peoples House.

 

Xwa Lack Tun (Rick Harry) (Squamish Nation - Coast Salish)

Xwa Lack Tun (Rick Harry) is an artist whose works are recognized internationally. He was given his Indigenous name by his father, Pekuln, who was a hereditary chief, originally from the Seymour Creek area. The name Da Shen came to be when Xwa Lack Tun killed a bear, then took on the bear's spirit because of the lessons he learned through that experience.

Xwa Lack Tun was born and raised in Squamish. His mother was originally from Alert Bay (Kwagiulth, Coast Salish), while his father was Coast Salish (Squamish). He received his formal art training from Capilano College and the Emily Carr Institute.

Healing and growth have become a central theme around Xwa Lack Tun's work. By focusing on how the traditional stories relate to his own life, Xwa Lack Tun shows us how to use this ancient knowledge to help heal ourselves. Respect for all people, regardless of race or religion is a central theme for him. The giving out of positive energy, and seeing it come back through the children is the reward that continues to feed Xwa Lack Tun's spirit. This spirit of love is pervasive through his work whether it is working with glass, wood, metal or people. All things grow and are healed through love.

Xwa Lack Tun's art focuses on how the traditional stories relate to his life, and how this knowledge can assist us all in healing ourselves.

Xwa Lack Tun's work can be seen at the main entrance inside the foyer at the First Peoples House. His ceremonial doors are made of red cedar and are carved on both sides. The exterior side of the door depicts a Thunderbird and Salmon, who holds a human face in his mouth. Three carved vertical lines on the lower border of each door represent mind, body and spirit. The interior doors depict a Thunderbird and Killerwhale. Coast Salish eyes are carved on the top border to remind us that we are being watched. The main bird figure on both sides of the door is a Thunderbird, who watches over all.

The doors were commissioned by the University of Victoria for the First Peoples House.

 

Chris Paul (Coast Salish)

Chris Paul, born in 1969, is a Coast Salish artist from the Tsartlip Reserve, near Brentwood Bay. He is gaining international acclaim for his limited edition giclée prints, cedar panels and glass sculptures.

Paul was immersed in Coast Salish art as a child. Being a part of the Tsartlip people, he had many elements of his culture to draw from: language, songs, stories and rituals. From traditional events and ceremonies he learned more about himself and his culture, and its artistic expression. At twenty-six, he was invited to apprentice with carver, Floyd Joseph. Before the age of thirty, Paul had completed one year of intensive training at ‘Ksan, the Gitanmaax School of Northwest Coast Art, and had completed a two-year apprenticeship under celebrated Tsimshian artist Roy Henry Vickers. As Vicker's apprentice, Paul learned to refine his own art and to create in a more personal style.

Paul has also gained exposure through the hit television series Grey's Anatomy, in which a number of his prints have been featured. His pieces often reflect flora, fauna and mythologies associated with his culture and his home on Vancouver Island.

Chris Paul's glass panel can be found in the Student's Reading Room in the First Peoples House. It is made of an etched glass panel and old growth cedar and depicts the Matriarch, "protector and holder of knowledge."

 

Charles Elliott (Tsartlip - Coast Salish)

Charles Elliott is a member of the Tsartlip First Nation, located on the shores of the Saanich Inlet, on the Saanich Peninsula north of Victoria.

Elliott is acknowledged as a master carver and is also skilled in creating complex graphic art. He has done extensive research in traditional Coast Salish art and consciously weaves the language and symbols of his peoples into his work. Much of his body of work includes large public commissions that celebrate and commemorate the Saanich Nation's stories. Moreover, he utilizes more contemporary mediums in the form of textiles and murals to further expand on Coast Salish art forms.

Through his outstanding two-dimensional and sculptural works Elliott has expressed an unwavering commitment to the designs and visual language of his own people. For almost three decades, he has worked to revive Coast Salish visual arts, and to share that culture with his community,  other artists and the general population. During this time he has produced an enormous volume of work, while at the same time acting as a mentor to countless young and emerging artists.

Charles Elliott has received some prestigious commissions during his career including the Queen's Baton, carved for the Commonwealth Games in 1994 and a Talking Stick, a gift for Nelson Mandela. In 2005 he was one of fifteen British Columbians honoured with the Order of B.C. This is awarded to outstanding British Columbians who have contributed to the province in exceptional ways.

Charles Elliott's house posts can be found inside the main entrance of the First Peoples House. They depict the story of Frogs Emerging from the Great Flood. Frogs historically represent the rebirth and regeneration of all living things in Coast Salish culture, and they mark the beginning of a new year and the end of the winter ceremonial season. The design of these contemporary house posts symbolically represents the Legend of the Flood, and depicts frogs emerging after the great flood. The carved rope symbolizes the Saanich Peoples ties to the land and also represents the rope in the legend that saved them from the flood when they tied their canoes to the sacred Lauwelnew Mountain.The left pole depicts frogs ascending the post and the right side depicts frogs descending.

The poles are carved out of red cedar and are painted with latex paint. They are painted in green, red and black. The house posts were commissioned by the University of Victoria for the First Peoples House.

Charles Elliott's screenprints and wall plaque can be found in the First Peoples House at the University of Victoria.

 

Edward Joe (Coast Salish)

Edward Joe was born in the small town of Ladysmith on Vancouver Island in 1969 and currently resides in Duncan. Strongly influenced by his Coast Salish heritage, he started creating art in Northwest Coast style during the late 1980s. He has also studied indigenous design from other areas of the Americas.

In 1992, Joe enrolled at the Emily Carr Institute of Art and Design and received his Diploma in Fine Arts in 1998. He pursued further studies at the Institute of American Indian Arts in Santa Fe, New Mexico and completed an Associate of Fine Art degree in 2001. From 2004 to 2005 he attended the Alberta College of Art and Design. His experience there was pivotal in his advancement as a designer in fine metals. His finely executed jewellery designs are diverse and original.

Joe grew up surrounded by a rich Coast Salish culture that has had a significant influence on his art. The stories, legends and myths are depicted in many of his art pieces. Animals from the land, the sea and the sky are often designed in a playful manner.Joe's goals are not only to revive the ancient Salish art form, but also to break free and redefine boundaries within it. He has done extensive research in museums and has become a passionate learner about the roots of the ancient Northwest Coast. He has stated:

The complexity of jewelry design enables me to challenge myself and grow as an artist. Working with silver and gold metals, the unique finish with stone inlay, or overlay of two metals, creates an illusion of depth. My art is not only influenced by Salish culture but also maintains influences from other Northwest Coastal tribes, as well as Southwestern techniques from Navajo and Hopi designed jewelry. I am also greatly inspired by Mexican silver jewellery from Taxco.

Susan A. Point (Sparrow) (Coast Salish)

Susan A. Point was born in Alert Bay in 1952 and lives on the Musqueam First Nation Reservation in Vancouver. She began her art career in 1981 with engravings on bracelets, rings, pendants, earrings and barrettes, using Coast Salish designs. Consulting with her uncle Michael Kew, an anthropologist at the University of British Columbia, she began to investigate traditional Coast Salish art forms, particularly the Spindle Whorl, an elaborately carved woodendisk, used to spin wool.

Point also experimented with silkscreen, expanding her artistic repertoire with two-dimensional designs. During the next ten years, Point worked to define her interpretation of traditional art forms in various media. When she began blending colours in 1983 critics rejected her colour schemes as non-traditional. Her creative drive prevailed, and soon she was exploring other techniques, such as foil embossing, paper casting, linocut printing and lithography. In the 1990s, Susan Point began creating three-dimensional art in materials such as glass, bronze, wood, concrete, polymer, stainless steel, and cast iron. Her work now involves large-scale creations in glass, wood, stainless steel, and concrete.

Her work can be found in private and corporate collections in over 20 countries worldwide. Due to her willingness to explore new mediums and work on a large scale, Point has been awarded numerous public art commissions, including building facades and large sculptures. Her large scale works welcome visitors at the Vancouver International Airport as well as in public and corporate buildings in the U.S. as well as Canada, paying tribute to the First Peoples of both these countries.

Point was honoured to be chosen to create a piece of art to be presented to the Smithsonian Institute in Washington DC, a gift from the Government of Canada to celebrate the opening of the National Museum of the American Indian. She was recently elected to the Royal Canadian Academy of the Arts, and has been presented with a National Aboriginal Achievement Award in recognition of her work as an artist.

Manuel Salazar (Coast Salish)

Manuel Salazar was born in Seattle, WA in 1966 and is affiliated with the Cowichan Band of the Cowichan Valley, Duncan. At the young age of 23,  he began to distribute fine Salish arts and crafts, and work full-time on his art, interpreting the legends of his Salish heritage.

Salazar designs and paints traditionally handcrafted rawhide drums and produces limited edition prints. In 1993 he spent the summer at the Native Heritage Centre in Duncan concentrating on original designs and drum painting. He apprenticed with Delmar Johnny and Art Vickers and his artistic career was inspired by Simon Charlie and Robert Davidson.

He has spent the last two years working at the Native Heritage Centre in Duncan, concentrating on the design and painting of traditional drums. He has developed his own unique style, blending traditional Salish elements with bright contemporary graphics.

Floyd Joseph (Coast Salish)

Floyd Joseph was born in 1953, on the Capilano Reserve in North Vancouver. He is a member of the Squamish band of the Coast Salish Nation. At the age of nine, he began to carve with the guidance of Ed Billy, Larry Joseph, Bobby Cole and Buffalo Mathias.

During his final years at Carson Graham high school in North Vancouver, Joseph was inspired to new artistic levels by Frank Perry who was European trained and a friend of the Haida artist and master carver Bill Reid. Perry had a huge influence over Joseph, teaching him to be self-confident and self-reliant and the importance of personal independence. Even during his teens, Joseph's original masks, bowls, plaques and totem poles were sought by art lovers.

He majored in art (sculpture, ceramics, drawing and design) at Capilano College. He travelled to Paris, Amsterdam and London to explore the art and the culture.His woodcarvings are both lifelike and beautiful. His Eagles, Loons, Ravens, Bears, Whales and other creatures important in Coast Salish legends are very delicately carved. The painted designs that adorn his pieces are nicely balanced and are reminiscent of the northern style of the Tsimshian.

Joseph's desire to live in harmony with nature is reinforced in his work. He brings to life the stories and legends of his people through his art, passing down the tradition of storytelling to the viewer.

Joseph Wilson (Coast Salish)

Joe Wilson was born in 1967 into the Cowichan Band and was raised in Duncan. His interest in art began through inspiration from his family. His artistic interest really started in elementary school, and when he was in grade 12 he made his own silkscreen print editions.

Wilson first began selling his carvings at age 17 at a local Koksilah Hills store. He has studied Salish art extensively through literature and museum collections.

He has had the opportunity to work and study under the guidance of Tim Paul, Charles Elliott, Simon Charlie and Jim Gilbert. Since 1984 his work has reflected his search for his own cultural identity in Salish art.

Wilson is also an advocate for HIV/AIDS awareness and is on the board of directors for Kw-am-Kw'um-S'uli - Strengthening Our Spirit.

He is actively involved in the winter dance ceremonies of his people. He currently resides on the Tsartlip reserve near Victoria where he continues to paint and carve.

Rita George-Green (Coast Salish)

Cowichan band artist Rita George-Green's traditional artwork reflects the love, honour and sharing of the Coast Salish. She is driven by exploration, responsibility and motivational curiosity. Her art is created with confidence and a strong identity, bringing traditional backgrounds and contemporary native perspectives to the world.

The team dynamic of Rita and her husband Joel Green creates a closeness that offers a beautiful reflection of family togetherness and shared respect through art and culture.

Art Thompson (1948-2003) (Nuu-chah-nulth/Coast Salish)

Art Thompson was born in 1948 in the village of Whyac, Nitinaht Indian Reserve, on the westcoast of Vancouver Island. Thompson's ties to his ancestral roots in both the Coast Salish and Nuu-chah-nulth nations have been a primary influence on his work.

He expressed an early interest in the arts and was encouraged by his grandfather, who taught him the history, songs and dances of his people. His father and grandfather were artists, well known for their ceremonial pieces, totem poles and canoes, but Thompson himself did not fully delve into the art world until 1967, when he enrolled in the Commercial Art program at Camosun College in Victoria. He began to explore many mediums, notably paintand pastels, in addition to creating both two- and three-dimensional forms. Later, at the Emily Carr Institute in Vancouver, he experimented with printmaking, leading to the creation of his renowned silk-screens.

Thompson developed an advanced interest in traditional Nuu-chah-nulth design and began to explore a narrative approach to myth and legend through this style of printmaking. In 1970, after a meeting with fellow Nuu-chah-nulth artists Ron Hamilton and Joe David, he initiated his own scholarly research of Coast Salish art. In addition to his contribution to the visual arts, Thompson helped keep the traditions of his culture alive by giving back to his community as a tribal bandleader, singer and ceremonial dancer.

Art Thompson's work can be found in many public collections including the Royal British Columbia Museum in Victoria, the Museum of Civilization in Hull, Quebec, The CanadianHigh Commission in Singapore, and Stanford University in the United States.

John Livingston (Adopted Kwakwaka'wakw)

John Livingston was born in 1951 in Vancouver and moved to Victoria at an early age. He has been closely associated with the Hunt family for many years and through this close friendship he began carving at Thunderbird Park for the Royal B.C. Museum in the 1960s when Henry and Tony Hunt were head carvers. He is internationally known for his fine carvings and is highly regarded as a teacher and mentor to young carvers.

After graduating from high school, Livingston apprenticed with Tony Hunt. This partnership led them to found the Arts of the Raven Gallery, which was one of the first venues for Northwest Coast Native art. They organized international exhibitions of traditional Northwest Coast art and created a workshop that trained many of the Kwakwaka'wakw artists working today.

He has worked on many large commissions with the late Henry Hunt, Tony Hunt, Calvin Hunt, Tony Hunt Jr., Don Yeomans, Robert Davidson, Tim Paul and Art Thompson. He is a masterwood carver and is particularly known for his large works. He has completed six totem poles for private collections ranging from six to twenty feet in height. His wall panels and large masks can be found in corporate and private collections throughout Canada and the USA.

Although wood is Livingston's primary medium he is also an accomplished painter. He has produced over fifty limited edition prints since the early 1970s. He is also noted for his expertise in restoration, replication and appraisal of historic Northwest Coast artworks and artifacts for collections. Livingston also coordinated and participated in carving the Chancellor's chair, stool, and lectern for the University of Victoria.

Through his close association with the Hunt family, he has participated in several large family potlatches and has been given the rights to a number of important Kwakwaka'wakw dances. He resides in Victoria with his wife, noted Kwakwaka'wakw button blanket artist Maxine Matilpi.

Calvin Hunt (Kwakwaka'wakw)

Calvin Hunt (b. 1956) is a member of the Fort Rupert Band of the Kwakwaka'wakw Nations. His father was the late hereditary Chief Thomas Hunt of Fort Rupert and his mother was Emma Hunt, the daughter of the great Nuu' Chah' Nulth Chief and Shaman, Dr. Billy.

Born into a wealth of traditional values, Hunt started woodcarving at the age of 12. From 1972 to 1981, he carved fulltime as an apprentice with Tony Hunt Sr. Moving to his ancestral home of Fort Rupert in 1981, Hunt and his wife, Marie, opened their carving workshop The Copper Maker. In 1989 the workshop doubled in size and the retail art gallery Kwakiutl Art of the Copper Maker Gallery opened. Three fulltime artists are presently at the workshop.

In May 1988, he carved and raised the Hunt Pole hereditarily owned by his oldest brother, George Hunt Sr., in Fort Rupert with the assistance of his brothers, nephews and cousins. He also carved a memorial grave figure for his father, which was raised at the Fort Rupert cemetery. These poles were the first raised in the village in approximately 70 years.

With the resurgence of canoe building in 1993, Hunt and his nephew, Mervyn Child carved a 32 foot Northern Style canoe that represented the Kwagu'l Nation at a Quatuwas canoegathering in Bella Bella. This canoe, named after his mother, Maxwalaogwa, belongs to the Maxwalaogwa Canoe Society, formed by Hunt's wife, Marie. Hunt has also carved the 32 foot Northern Style I-Hos, and 40 foot Northern Style Ugwamalis Gixdan, with Child's assistance. Hunt has helped with the carving of a Munka canoe, and a 37 foot West Coast Style canoe for Quatsino.

In 1995, during a potlatch given by Hunt and his brother, Ross Hunt Sr., he received his Chief's name, Tlasutiwalis, from his wife's side of the family. In July 1998, he was seated as Nas soom yees, the fourth primary Chief of the Mowachaht: the Hereditary Chieftainship, which belonged to his grandfather, Dr. Billy, of Tsuwana (Friendly Cove).

Hunt continues his work in Northwest Coast art, working in wood, including canoe building, original silk-screened prints, gold and silver jewelry, and stone carving.

Butch Dick (Coast Salish)

Butch Dick is a master Coast Salish carver of the Songhees Nation. He is not only an artist, but a teacher, storyteller and drummer. For more than twenty years he has taught First Nations art and culture, bringing his stories, songs and artwork into many classrooms throughout the Greater Victoria area.

For over ten years he has worked with his son, Bradley Dick, to revitalize their language. Butch Dick passed on his carving skills to both his sons, Clarence Dick Jr. and Bradley Dick.

Father and sons now work closely together on different art projects.Butch Dick's wall plaque can be found in the Galleria Hallway of the First Peoples House.

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Donors:

David Fate and Mary J. Norton: The Giving Back Project

David and Mary Norton are donors of First Peoples art to the First Peoples House at the University of Victoria. Both are very supportive of Aboriginal students' pursuit of higher education. In 2009 they donated five pieces of Aboriginal art to the First Peoples House in the hope of encouraging others to "give back" to the university.

Dr. Norton is a retired philosophy scholar and researcher from McGill University with an expertise on the Scottish philosopher David Hume and is a former editor with the Oxford University Press and the McGill University Press. Mary Norton is a retired high school teacher. The works donated include five serigraphic prints by Mark Henderson, Kevin Neel Ryland, Manuel Salazar and Art Thompson. The Nortons were assisted with their donation by Kerry Mason in the Department of History in Art at the University of Victoria.

Works Donated:

Our Beginnings: U009.2.1, Art Thompson, Screen print, 50/133, 1999

Change Of Season: U009.2.2; Manual Salazar; Screen print, 146/160

Twin Humans: U009.2.3, Art Thompson, Screen print

Berry Picker In The Moon: U009.2.4, Kevin Neel Ryland, Screen print

Owl: U009.2.5, Mark Henderson, Screen print

 

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Thank you to the Maltwood Gallery for sharing this information!