Beadwork and Jewelry Making
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William’s Practice involves beading everyday objects. With this work, he explores the ideas around trespassing as he subtly critiques rights of land. These camping chairs – created by many hands and thousands of glass beads – are set on river rocks that acknowledge the waterways and shorelines that run through Turtle Island. He raises the questions: “Who is claiming ownership of these lands?”
For over a decade, Nazon has created celestial beadwork designs that blend traditional beading techniques with her fascination with images from the Hubble space telescope. The abstract nature of the celestial photographs allows the artist to be more interpretive. With a mixture of representational and stylized aesthetics, she can incorporate different materials such as caribou bone and willow seeds, that have location-specific significance.
Drawing on Indigenous teachings, knowledge and ways of making, Judy Anderson creates work in tribute to the people in her life. She created this work to honour her brother, who was taken in the Sixties Scoop. Her entire family helped to complete the piece as they commemorated their loss. Anderson states: “this served as a reminder that grief is not carried alone, an idea that affirms nehiyaw belief in the importance and centrality of familial relationships as rooted in sharing with and supporting one another.”
Three small purses woven from seed beads by Otomi artisans from the area of San Pablito, Pahuatlan Puebla Mexico. The double-headed eagle is a typical Otomi embroidery design
What is art ? What is Indian ? Do you consider yourself a native artist or an artist or both ?
These are just some of the questions that Teri Greeves has been presented with throughout her career. Greeves created this beautifully beaded work in response to these types of questions by using a stereotypical image of a figure in a warbonnet, and inspired by 1960s Pop Art artist Roy Lichtenstein’s oil painting ART. With this work she challenges the impulse to define and limit Native Art.
The grass dance has been a part of my Dad’s family for nearly a century. Miyek’suya is the voice of male family members who went missing . . . murdered. Growing up, my father often spoke of their kindness, generosity, humility and Humour. Miyek’suya’s dancing clears the path and honours our relatives. Every detail of him has meaning. He wears a black painted streak across his eyes to remember we are and will continue to be warriors. Ceremony colours represent my family beliefs, and the red handprint honours the MMIW movement. The beadwork designs were inspired by my grandmother, Rose Ponicappo Kakenowash. Giizaagiin James.
Beautiful turquoise cabachon surrounded with bead embroidery in glass seed and E beads, metallic beads, turquoise ovals and beads, chain in glass seed and E beads in variation of Ndbele herringbone stitch. CAN YOU EVER HAVE TOO MUCH TURQUOISE?
Boyer’s work often examines what can be seen as contradictory experiences. During the COVID lockdown, the artist maintained her connection with nature and the land by watching the prairie sky from her window. She conceived of this work as an exploration of her identity as Métis, White settler and Queer, represented through the relationship among the sun, clouds and sky. For Boyer, the work ”materially connects my body, and the skies of places that were formative to understanding myself.”
This group of works honours the artist’s late mother and collaborator, Lorna Hill. They beaded together and embarked on ambitious community art projects together for thirty-five years. Thoughtful creation became personal condolence, a contemporary version of the ancient Wiping Away the Tears Ceremony, where handling beads “opens the throat, wipes away tears and clears the ears,” so the bereaved can once again, see, speak, and hear clearly. Sadly, Sam passed into the spirit world on 8 March 2024. His legacy will live on in the beautiful works he created.
Created for The Hypothetical Awards ...mini-challenge... "HAND JIVE": www.flickr.com/groups/1179479@N25/
My sister's beading group at work. Thanks to Gloria and Karen for sharing their hands with me. :)
Photos and texture are my own. Processed in PSE 10 and ipiccy.
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Recently, Carrie Allison’s practice has focused on how land use is tied to moral responsibility and settler colonial laws and by-laws. Part of a series od sculptures that depict how the colonial policies promote the destruction of trees and green spaces for individual and corporate profit, this work invites viewers to think how land is being used.
Boyer’s work often examines what can be seen as contradictory experiences. During the COVID lockdown, the artist maintained her connection with nature and the land by watching the prairie sky from her window. She conceived of this work as an exploration of her identity as Métis, White settler and Queer, represented through the relationship among the sun, clouds and sky. For Boyer, the work ”materially connects my body, and the skies of places that were formative to understanding myself.”
With a kindship of trust, both artist and photographer share different viewpoints of the bruise. With her beaded hide titled “But There’s No Scar?”, Blackburn highlights the trauma experienced by so many Indigenous women, while the photographer explores and celebrates the cosmology and beauty in the work and growth of the bruise.
This group of works honours the artist’s late mother and collaborator, Lorna Hill. They beaded together and embarked on ambitious community art projects together for thirty-five years. Thoughtful creation became personal condolence, a contemporary version of the ancient Wiping Away the Tears Ceremony, where handling beads “opens the throat, wipes away tears and clears the ears,” so the bereaved can once again, see, speak, and hear clearly. Sadly, Sam passed into the spirit world on 8 March 2024. His legacy will live on in the beautiful works he created.
For over a decade, Nazon has created celestial beadwork designs that blend traditional beading techniques with her fascination with images from the Hubble space telescope. The abstract nature of the celestial photographs allows the artist to be more interpretive. With a mixture of representational and stylized aesthetics, she can incorporate different materials such as caribou bone and willow seeds, that have location-specific significance.
Inspired by the decorated savviqutik on the front of women’s clothing, Niap celebrates the ingenuity, creativity and expertise of Inuit women. Using the tools at her hand, her ancestors created highly practical but carefully decorated objects and clothing. With Piqutiapiit, which means “precious belongings”, Niap assembled materials and objects from various places and have assembled them into a new form.
Boyer’s work often examines what can be seen as contradictory experiences. During the COVID lockdown, the artist maintained her connection with nature and the land by watching the prairie sky from her window. She conceived of this work as an exploration of her identity as Métis, White settler and Queer, represented through the relationship among the sun, clouds and sky. For Boyer, the work ”materially connects my body, and the skies of places that were formative to understanding myself.”
Boyer’s work often examines what can be seen as contradictory experiences. During the COVID lockdown, the artist maintained her connection with nature and the land by watching the prairie sky from her window. She conceived of this work as an exploration of her identity as Métis, White settler and Queer, represented through the relationship among the sun, clouds and sky. For Boyer, the work ”materially connects my body, and the skies of places that were formative to understanding myself.”
Inspired by the decorated savviqutik on the front of women’s clothing, Niap celebrates the ingenuity, creativity and expertise of Inuit women. Using the tools at her hand, her ancestors created highly practical but carefully decorated objects and clothing. With Piqutiapiit, which means “precious belongings”, Niap assembled materials and objects from various places and have assembled them into a new form.
One of the great pleasures of living in South Africa is, everyday, to see on display the wonderful, colourful, arts and crafts. Especially arresting are th marvellous bead-work creations, which take many forms.
Columbia River Plateau Flat Bag, circa 1930. Artist unknown. Private collection
Wheelwright Museum of the American Indian
Santa Fe, New Mexico
Needlecase and scissor keep made for Sabine Lippert try-to-be-better.blogspot.com/
The peacock feather needle keep is adapted from a wonderful lariat design by Kerrie Slade.