Carolyn Anderson

TRIBAL AFFILIATION: Maliseet

MEDIUM: Painting/Illustration

BIOGRAPHY
Carolyn is a visual artist living in Houlton, Maine. Carolyn is a 2013 graduate from the University of Maine at Presque Isle where she received a Bachelor of Fine Arts with painting and photography concentrations, as well as a Bachelor of Arts in Art Education.

Carolyn started out with a desire for photography and fell into a love for painting. Her medium of choice is acrylics but at times using other mediums as well. Inspiration for her work comes from her hometown, nature and her tribe The Houlton Band of Maliseet Indians.

While working at the Houlton Band of Maliseets, Carolyn was busy photographing events as well as creating artwork for fundraisers. Currently she has work on display at The Shire Ale House, Houlton, The Pine Grill in Monticello, and Wintergreen Art Center in Presque Isle.. She will also be participating in multiple art and craft shows throughout Maine beginning with Houlton’s eclipse celebration.

 

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Maya Attean

TRIBAL AFFILIATION: Penobscot

MEDIUM: Photography

BIOGRAPHY
Maya Tihtiyas Attean (b. 1994) is a Wabanaki artist living in Portland, Maine or Machigonne, raised on the Penobscot Reservation. Her work reflects her ancestry, resilience, and connection to the natural world. Through exploring the duality she embodies within the colonized world she exists within, she marries mediums and techniques of multiple cultures to create new realities and possibilities within her work. Maya earned her BFA within Photography from Maine College of Art & Design in 2023. Her work is in the permanent collection of the Portland Museum of Art and the Abbe Museum.

 
 
 

Eric Otter Bacon

TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry, Woodwork

ARTIST STATEMENT
As a young child, my mother mentioned that I constantly created hand-drawn copies of sneakers and boots, particularly focusing on the tread patterns.

Woodworking and basket making soon followed at around age five or so, influenced by several family members, including my maternal grandfather, a Grand Lake wood strip canoe builder, my father, a wood and bone/antler carver, and my uncle who steam bent wood into dog sleds. I also was inspired by many basket makers on the reservation. 

At the age of 16, I started working with Loyd Owle, a renowned Cherokee artist at the Unity Youth Treatment Center in North Carolina. I learned leatherwork, stone carving, and other Native arts. While receiving treatment there, I discovered the value of life, and it was where my first pieces of Native art were sold.

For many years, I pursued a tattoo apprenticeship, focusing my artwork on the industry. I also conducted extensive research on indigenous patterns and designs from around the world.

In 2004, I started making baskets professionally. And during my first decade, I began participating in and winning art competitions at various Native art markets. My work was also featured in the collections of major museums across the country. 

During this period, I collaborated closely with birch bark canoe builders David Moses Bridges and Steve Cayard, constructing five different bark canoes with various Native communities to acquire and exchange knowledge of traditional canoe construction and material gathering/preparation.

In the future, I want to keep sharing and teaching the traditional arts knowledge I've gained. My goal is to inspire others to find value and hope within themselves so they have the tools to lead a positive and meaningful life.  

 
 
 

CroweQuill Creations - Reanna Crowe

TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Jewelry, Quillwork

ARTIST STATEMENT
I am Reanna, a proud member of the Passamaquoddy tribe from Maine. I specialize in creating unique and beautiful jewelry using traditional materials such as porcupine quills and birch bark. Each piece is handcrafted with care, reflecting the rich heritage and artistry of my culture. I invite you to explore my collection and discover the beauty of Passamaquoddy craftsmanship.

 

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Kateri Aubin Dubois / Nisnipawset

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TRIBAL AFFILIATION: Maliseet of Viger

MEDIUM: Beadwork

BIOGRAPHY
Nisnipawset is Kateri’s indigenous name. Because her contemporary creations are made with traditional bead weaving techniques, Kateri uses her indigenous name to represent her brand. Her jewelry is handmade yet affordable, hypoallergenic and high quality. Kateri is a 35-year-old, now mother of two, indigenous woman living in the Greater Montreal region. She started beading traditional friendship bracelets as a child and rediscovered the joy of beading while studying translation at Concordia University, from which she is now an Alumni. Kateri started creating beautiful pieces. She is always exploring to find new techniques to learn, new patterns to bead and learning to design her own pieces. She hopes one day to own her gallery-shop and share her beading knowledge with whoever wants to learn.

 

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Gabriel Frey

TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry - Ash

ARTIST STATEMENT
Gabriel Frey is a Passamaquoddy artist whose family has been making traditional black ash baskets for generations. He specializes in utility baskets, such as pack baskets, market baskets, and purses. Frey weaves each basket solely with black ash and handcrafted leather features such as straps, lids, and liners for each basket. Gabriel’s artistic process includes locating and harvesting basket-quality black ash trees from the woods, processing black ash logs, and weaving black ash materials into basket forms. Each piece has an element of carving. Frey carves the hoops, handle, and wooden pins to fasten leather straps. Many of his tools, such as basket molds, gauges, and shave horse adaptations of traditional designs. 

Maintaining the traditional knowledge of Wabanaki basket makers is an important aspect of his artistic process. 

Gabriel’s art expresses an indigenous worldview. He is inspired by the natural world and the transformation of a living tree into a functional vessel. His baskets connect the interwoven past, present, and future to create functional art pieces. Culture, family traditions, personal experiences, and hopes for the future are embodied within each basket. 

Gabriel learned traditional black ash basketmaking from his grandfather. “When I hold my grandfather’s baskets, I hear my grandfather’s voice giving subtle suggestions on technique and style. I hear my grandfather’s stories. My family connection is maintained through basket making. I work towards perfecting the function and form of the traditional baskets while evolving each basket to reflect my personal style. My basket-making goal is to produce useable, functional baskets for daily use. I want someone who buys my work to use, feel, and experience Wabanaki culture daily.” Using these baskets, that person creates a connection and finds added value within the basket. Creating functional Wabanaki baskets is a platform to connect people to places. This reflects interconnectedness and reciprocity between people, their natural world, family, and our nonhuman relatives.  

 

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Chance Griffith

TRIBAL AFFILIATION: Maliseet

MEDIUM: Basketry - Other

ARTIST STATEMENT
’Hey there, My name is Chance Griffith I’m 24 years old I grew up in Tucson, Arizona one of the hottest deserts in the world the “Sonoran” desert I’m also a U.S Tribal member I’m apart of the “The MALISEET Tribe “located in Northern” Maine” being far away from my culture and community inspired me to do self searching learning all the history of my tribe. My father “Aron Griffith” is a Birch bark basket maker my father would often travel back to our reservation in Maine to harvest birch bark to make traditional/contemporary birch bark art not understanding why birch bark was so important to my people I learned it was used to make shelter, canoes, baskets, traditionally I saw how my father turned something like bark into art that gave me inspiration to create something of my own that I could bring back with my to my reservation and recreate what a modern day indigenous artists are capable of doing outside of the norms of traditional native art making.’

 
 
 

Eldon Hanning

TRIBAL AFFILIATION: Mi’kmaq Nation

MEDIUM: Basketry - Ash

ARTIST BIOGRAPHY
Eldon Hanning of Mi’kmaq Nation is well known for his utility baskets. A master of ash preparation, Eldon will demonstrate the traditional Micmac method of pounding and splitting ash, which differs greatly from the techniques of the Penobscot and Passamaquoddy ash-pounders. A board member of the Maine Indian Basketmakers Alliance, Eldon has taught hundreds of members of each of the Wabanaki Tribes how to weave potato baskets—a basket which the Wabanaki are well known for.

 
 
 

Jo-Ellen Loring Jamieson

TRIBAL AFFILIATION: Penobscot

MEDIUM: Beadwork

ARTIST STATEMENT
I am a tribal citizen of the Penobscot Nation. I learned to bead on Indian Island as a teenager. As an Indigenous woman born on Earth Day, I have a deep connection with nature and an inherent responsibility to do my part to help protect the planet. I sometimes use recycled and upcycled materials in my work which helps to reduce my footprint.

 
 
 

Marisa Joly

TRIBAL AFFILIATION: Listuguj Mi'gmaq First Nation

MEDIUM: Painting/Illustration

BIOGRAPHY
Marissa Joly is a Mi’kmaq visual artist residing in Durham, ME. Her Wabanaki heritage holds a lot of inspiration for her creations. Nature, color theory, indigenous patterns, and organic shapes play big roles in her work. She aims to strike up conversations on spirituality and emotions brought forth through her use of color, cultural symbolism, and abstract designs. She works in the mediums of painting (small and large scale murals), printmaking, digital art, and crafting dreamcatchers.

 

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Jeanne Lewey

TRIBAL AFFILIATION: Penobscot

MEDIUM: Home & Body

ARTIST STATEMENT
My name is Jeanne Lewey. I live between Indian Township and Indian Island, Maine; I am affiliated with the Penobscot Nation. My cultural upbringing influenced my artisan soap-making and for me, the creative process begins when I'm in nature. I make sweetgrass and cedar soaps using ingredients including wild-harvested Blue Glacier clay, essential oils, milk, activated charcoal, French green clay, and more. I'm self-taught and am in my happy place when I create. I am happiest when creating a new recipe, and hope that my products put a smile on others' faces.

 
 
 

April Lola

TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Diverse Arts

BIOGRAPHY
April Lola is a Peskotomuhkati (Passamaquoddy) artist from Motahkomikuk (Indian Township). A mother of two Passamaquoddy and Maliseet daughters and a graduate student in clinical counseling, she turned to botanical framed art as a way to carve out time for creativity and self-care amidst her busy life.

Born and raised on the Motahkomikuk reservation, her home was filled with art, April was deeply influenced by her mother, a respected beader known for her intricate dream catchers. She gravitated toward floral art, preserving foraged and gifted flowers over time. Inspired by the beauty and significance of these natural elements, she began incorporating medicines of the four directions and themes of feminine strength into her work. Through silhouettes of the divine feminine, she tells stories of resilience, empowerment, and connection to the land.

 
 
 

Marvin McMurphy

TRIBAL AFFILIATION: Penobscot

MEDIUM: Beadwork

ARTIST STATEMENT
”My name is Marvin “Face” McMurphy, a sixty-nine-year-old Penobscot Native, and an incarcerated individual at the Solano State Prison.

I’ve been an avid bead crafter for nearly forty years and truly enjoy the craft.  Beading has helped in teaching me patience and has gifted me a creative way to express myself.”

 
 
 

Erica Nelson Menard

TRIBAL AFFILIATION: Penobscot

MEDIUM: Basketry

ARTIST STATEMENT
I am a traditional Penobscot basket maker. As a young child, I observed my grandmother, Philomene Saulis Nelson, preparing materials for her ash and sweetgrass baskets. I loved the vibrant colors she dyed her ash; her color combinations were stunning! When I was in college I asked her to teach me how to make baskets, but it was not meant to be at that time. 

It wasn’t until my late 40s that I had the unique and unexpected opportunity to apprentice with my mentor and cousin, Theresa Secord. As part of my apprenticeship I had the opportunity to use my grandmother's molds and could feel her guiding presence. My inspiration and ancestral designs come from Penobscot-style baskets produced by my grandmother, Philomene, and my cousin, Theresa. I like to weave ash and sweetgrass boxes, sweetgrass flats, and other baskets with braided sweetgrass in the family style. Continuing my family's traditional art form is an honor and privilege. I am also mentoring my daughter and granddaughter so other generations of basket weavers will continue the ancestral tradition. Plus, we are learning Wabanaki language terms associated with traditional basketry.


 
 
 

Norma Randi Marshall

TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Painting/Illustration

BIOGRAPHY
Norma Randi is a Wabanaki artist and homesteader from Maine. She is a member of the Passamaquoddy Tribe and was raised in her Passamaquoddy mother’s ancestral lands at Sipayik, Maine. She has roots from her father’s clan of the Hidatsa and Mandan people of North Dakota. Norma is a painter and digital art creator; she uses acrylic, oils, and watercolors as her mediums. 

Norma draws inspiration from her ancestral heritage and life lived with her husband. She has love for the various landscapes and palettes of Maine skies, earth, and waters; experiencing the beautiful Maine environment that her maternal ancestors called home and traversed for 12000 plus years. The focus on her heritage is also a teaching tool for herself to be aware of the history of her ancestors, how their lives were lived prior to colonization and after, their culture, their environments and ecology, and the people within the communities who continue carrying on traditions despite the initial setback of assimilation. It is a form of self healing and expression.

Norma Randi is a graduate of the University of Maine at Machias with a Bachelor of Arts Degree. She is a member of the Abbe Museum in Bar Harbor. Norma has an art show at least once a year. In 2023 she won a People’s Choice Award in June for her Language preservation piece at the Abbe Museum Indian Market weekend. She will be featured at the Eastport Arts Center in June 2024 for a solo show and at the Coastal Maine Botanical Gardens from mid-July through mid-October. 

You can now purchase her small works at the Abbe Museum in Bar Harbor, Coastal Maine Botanical Gardens in Boothbay, and the Acadia National Park Stores.  You can see her in person at various craft fairs in Maine selling her art and wares.

 

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Belinda Dawn Miliano

TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Beadwork

BIOGRAPHY
Belinda Dawn Miliano is a contemporary beadwork artist, and member of the Passamaquoddy Nation in Sipayik. Belinda has been intrigued with indigenous beadwork art since a young girl, self taught in creation of dream catchers, and mentored by an elder within the tribal community as a young adult for beadwork. Belinda transforms beading into captivating wearables, using traditional materials in combination of modern accents. She is passionate about creating unique pieces and pushing creative boundaries.

 
 
 

Bonnie Murphy

TRIBAL AFFILIATION: Mi’kmaq

MEDIUM: Beadwork

 
 
 

Navaquoddy Crafts - Sanora Isaac and Wilfred Neptune Sr.

TRIBAL AFFILIATION: Passamaquoddy and Navajo

MEDIUM: Beadwork, Jewelry

ARTIST STATEMENT
Wilfred J. Neptune Sr., Passamaquoddy from Pleasant Point, Maine, a descendant of the hereditary Chief Neptunes.  Sanora Isaac, Navajo from Arizona, comes from a line of artist/educator.

Our crafts originate from our cultural upbringing of Navajo and Passamaquoddy backgrounds. Together, we create a combination of unique, genuine handmade jewelry of beaded earrings, necklaces, bracelets, rings with semi-precious/shell/stones using our natural materials from local nature byproduct and resources. Antler necklaces with seed beads, peyote stitched on leather and War Clubs from Maine rocks & wood handles. Dreamcatchers made from Maine red willow with sinew & feather.  

The greatest form of crafting is remembering the tool given to us to express and create by our parents, our ancestors.

 
 
 

Geo Soctomah Neptune

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry - Ash, Clothing, Diverse-Arts

BIOGRAPHY
Geo Neptune is a member of the Passamaquoddy Tribe from Indian Township, Maine, and is a Master Basketmaker, a Drag Queen, an Activist and an Educator. As a person who identifies as a two-spirit, an indigenous cultural gender role that is a sacred blend of both male and female, Geo uses they/them gender-neutral pronouns.

At four years old, Geo had already been asking their grandmother Molly Neptune Parker to teach them how to weave baskets; after being told to wait until they were older, Geo found another elder that would teach them, and presented their grandmother with their first completed basket. Later that year, after turning five years old, Geo wove their first basket with their grandmother, beginning a lifelong apprenticeship.

After graduating from eighth grade at the Indian Township School, Geo attended Gould Academy in Bethel, Maine, where they were able to explore more artistic outlets before becoming a member of the Dartmouth College Class of 2010. Proficient in Spanish and a performing arts major, Geo studied abroad in both Barcelona and London during their time at Dartmouth.

When Geo graduated from Dartmouth College and returned to the Indian Township reservation, they began to focus heavily on their weaving, and developing their own individual artistic style. Experimenting with their family's signature woven flowers mixed with natural elements of twigs and branches, Geo began forming what would eventually be known as their signature sculptural style of whimsical, elegant, traditionally-informed basketmaking. During their time at home, Geo was also the Cultural Activities Coordinator and Drama Instructor for the Indian Township After School and Summer Programs, and eventually went on to serve as the Unit Director for the Passamaquoddy Boys and Girls Club. In 2012, Geo attended the Santa Fe Indian Market for the first time, accepted the position of Museum Educator at the Abbe Museum, and watched their grandmother receive the National Endowment for the Arts National Heritage Fellowship before moving to Bar Harbor.

Living in Bar Harbor, Geo maintained a life as a basketmaker, actor, drag queen, and activist in addition to serving as the Museum Educator. Participating in Idle No More protests here in Maine, Geo was invited as the first Indigenous youth delegate to the World Summit of Nobel Peace Laureates in Capetown, South Africa in 2014. After attending the Summit again in 2015, returning to Barcelona, Geo was then invited to attend a PeaceJam conference in Winchester, England, where they met Rigoberta Menchu Tum, the first and only Indigenous woman to win the Nobel Peace Prize. In 2016, Geo was the first drag queen on the cover of Native Peoples Magazine, with their story featured in the magazine's first official LGBTQ Pride issue. In late 2016, Geo decided to pursue their art and activism full time, and they now live back in their community at Indian Township. At home, they are able to spend more time with their apprentice and youngest sister Emma--who, at thirteen years old, has won numerous more awards for her basketry than Geo has--and with their grandmother, keeping the family and cultural tradition of basketry alive. Geo hopes to be able to work to embrace the sacred role of the two-spirit, truly becoming a keeper of tradition and a teacher and role model for Passamaquoddy and other Wabanaki youth. Most importantly, Geo hopes to inspire other two-spirits from across turtle island to accept their truth and embrace their sacred responsibility, and travels across the state and country educating learners of all ages about Wabanaki history and culture, the art of basketmaking, and what it means to them to be a Two-Spirit.

 

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