Meeting in Secret

Edition of 100

Dimensions 14h" x 15w"

2008

$50.00 USD

This image came to me without a story. In developing sketches for designs, there are moments when the work appears without me planning it out. As this one came together, I looked at the paper thinking these two creatures were unlikely allies—sharing information very closely that was not to be heard by anyone except each other. It made me think that back in the times of my great-great grandfather, and before that in mythological times, there must also have been such relationships. 
Our culture is informative—it tells us how nature and our observations of it are important keys to survival. It shows us how we are all connected in an eternal chain, and in many ways there is very little that separates us. This image is a window into a moment where two beings partner for a greater good…. And what that is, we don’t really need to know.

The Salmon People

Edition of 80

Dimensions 24h" x 24w"

2008

$125.00 USD

It is well known that the Native peoples of the Northwest Coast region have great reverence for the Salmon. This design was inspired by a historic example of Salish art attributed to the Squamish Nation. During the time of this object’s creation, the salmon adorned many examples of the objects of daily life, and today still, we as Native people continue in that tradition and so honor what is dear to us.
A practice that is now making its way back into our lives is the First Salmon ceremony. This ritual is practiced by many Salish tribes, and its underlying goal is to honor and thank the salmon for nourishing our communities from elder to child. With the community in attendance to witness, a canoe is taken out to catch the first salmon of the season. This first fish is then brought to the community hall where it is shared among the elders, while the rest of the people eat of the second and successive catches that follow. Once the feast is done, the bones of the fish are ceremonially placed on cedar boughs and returned to the waters from which they came.
In this ceremony we thank the salmon, and in sending its spirit back to its own people, we let them know their lives will be purposeful—and so to sustain our lives and feed our communities, they willingly come back to us in a good run. It is our cultural belief to honor this in thanks, as we honor all things that have been provided to us.

Gift of Creation (canvas)

Edition of 20

Dimensions 38h" x 38w"

2008

$850.00 USD

In the art tradition of the Coast Salish peoples there is an object called the spindle whorl. It is a wooden disc with a hole in the center which a wooden shaft travels through and the weaver rests on their lap while spinning in their hands. This object is a necessary tool for transforming gathered wool into material that is then used in making blankets, vests, headgear and other regalia components all of which were worn by individuals of substantial high ranking families.
The spindle whorl itself is often made of hardwood such as maple or alder, incised carved with a design that the weaver associated with personally. Today that concept has been translated into painted drums, paintings and etched glass works, retaining the design motif of a circle with a central relief circle integrated within the design.
This piece in particular honors the women of our society. The woman in this piece is protected on either side by Thunderbirds that were often carved on these objects and were known as powerful beings in our ancestry. It is to demonstrate the level of power that women carry as the givers of life as mother, grandmother and protector.

Honor and Peace

Edition of 150

Dimensions 6 1/2h" x 19w"

2009

Created during a time of great confusion amidst the world with chaos and disarray keeping many nations in fear on a global scale this print emerged from an old sketch with faint patterns over it in my collection of works in progress. I had originally planned to create this as a glass piece sandblasted and mounted to cedar but the idea of printing this faint pattern caught my interest. It felt very compelling to use the characters to remind not only myself but those who saw it that Honor and Peace are in our hands. Symbolized by the Eagle and Frog this rather elaborate print explores the overlap in influences we today as artists have the freedom to explore.
Despite the woes of daily life and horrific tragedies we see and hear about in various forms of media, there is a stillness underneath it all that we can access if only we are willing to. As it is depicted here the Eagles that represent Honor, shelter the Frog which stands for Peace. Another aspect of this visual interplay is the need for interaction with one another. We often feel alone in the world but we have like minded spirits out there that are there whether we notice them or not, we are part of a global community and we are never alone.

The Moon is Always Full

Edition of 100

Dimensions 15h" x 13w"

2009

SOLD OUT

Throughout the world many stories are told about the Moon. Many cultures believe Moon to be a woman. In the Puget Sound Salish mythology however, Moon is a man. In fact his role in the mythology is prominent.
It is said that two sisters were once digging roots for weaving when they came across a cedar tree that transcended the earth to the sky world. They often gazed at the star beings fantasizing to one day marry them and so they ventured up the tree. Once there, they encountered the beings they admired so for so long. The younger sister partnered with the White Star being and the older with the Red one. The younger had a child that became known as daIibaA (Changer/Transformer). After some time longing for their lives back on earth and the comforts of home and family they snuck back. They had to weave a long rope because the tree they came up had fallen.
Once back on earth the child of the younger sister became a great leader changing the very way of life the people had come to know and demonstrated such compassion for his people in all that he did. It’s said that near his end, he made a decision to return the world from which he came. Upon doing so he married the frog woman who is responsible for keeping all of our ancestral knowledge in a cedar basket there.
In looking at the moon when it is in crescent form I was told by my Great Aunt, Catherine “Molly” Hatch, that the moon is always full. And with this I’m inspired by any trouble I have in my life to see it through, knowing that I too am always whole.

Foundation

Edition of 60

Dimensions 30"h x 24"w

2008

Any culture in the world has foundations that distinguish it from others. People of the culture draw their inspirations from foundations in nature and artistic traditions. The symbols and visual dialogues they create become the pillars that support new and expanding traditions that are passed down to future generations.
When the City of Tacoma asked me to create a piece of art for the municipal building, which was to characterize what was most important to our people, I had no doubt what these would be. The moon, also known as Dakwibahl (Changer/Transformer), is a central figure in our mythology and served as a great heraldic leader of the people. The mountain has been a provider and shelter, and is known as “Grandmother”, one who nurtures and teaches us many things. Salmon is perhaps most central to our culture, nourishing our communities and inspiring us with a strong spirit to fight upstream and continue despite challenge.
To compose these together I used the motif of interlocking triangles, often seen in the old carvings, which represents the concept of interdependence and balance in nature. Within this is a wave pattern that symbolizes the river, the continuum of energy from ancestors to the unborn, and the way our culture is an ongoing and unbreakable foundation.

Grandmother

Edition of 60

Dimensions 30"h x 24"w

2009

"The Puyallup had loved their grandmother Takopid, the mountain, even as Tacoma loves her now... Takopid fed them and her other grandchildren, the Yakama, through her rivers, the Puyallup and the Yakama, which she kept always supplied with life-giving fish and clear, cold water." 

- John Hote (Puyallup:1915)

Bear

Edition of 80
Dimensions 19"h x 13"w
2009

SOLD OUT

This print represents Bear. Known to many for size and strength, stories of this region focus on quite opposite traits beyond the physical aspects. There is a story related between Fishhawk and Bear that I learned as a young man. This story shared with me by my late Great Aunt, Catherine Hatch, speaks to the importance of giving and friendship. It is said that once Bear and Fish Hawk had children that were dating. One day Fish Hawk came to visit Bear. In his house he had dried salmon but nothing more. In these times flavoring food with grease was of high status so Bear put his hands near the fire and let the fat drip into some shells. He then brought this to Fish Hawk who was very impressed. Fish Hawk later returned another day bringing shells with him. He came close to the fire and attempted to fill the shells with grease but there was very little. Bear, feeling bad, came over to him only to find his feet dried up and scaly. He took the shells filled them and let his friend rest telling him “Fish Hawk, you are my friend and I would never expect from a friend something they cannot aafford to give”. Fish Hawk was embarrassed but understood him. This story teaches us that we are unique and to immitate ones strength may not be possible but it encourages us to find our own.

FishHawk

Edition of 80
Dimensions 19"h x 13"w
2009

SOLD OUT

This print represents Fishhawk. A legend tells of his ability to form his wings into giant hands and grab quantities of salmon from the rivers here. There is a story related between Fishhawk and Bear that I learned as a young man. This story shared with me by my late Great Aunt, Catherine Hatch, speaks to the importance of giving and friendship. It is said that once Bear and Fish Hawk had children that were dating. One day Fish Hawk came to visit Bear. In his house he had dried salmon but nothing more. In these times flavoring food with grease was of high status so Bear put his hands near the fire and let the fat drip into some shells. He then brought this to Fish Hawk who was very impressed. Fish Hawk later returned another day bringing shells with him. He came close to the fire and attempted to fill the shells with grease but there was very little. Bear, feeling bad, came over to him only to find his feet dried up and scaly. He took the shells filled them and let his friend rest telling him “Fish Hawk, you are my friend and I would never expect from a friend something they cannot aafford to give”. Fish Hawk was embarrassed but understood him. This story teaches us that we are unique and to immitate ones strength may not be possible but it encourages us to find our own.

Rescuing Songs from the Sky World

Edition of 150

Dimensions 24"h x 18"w

2009

$125.00 USD

This story is prefaced by another, which speaks of a time when long ago the sky had sunk low which required the people to come together and push it back up out of their way. Alone the story teaches a lesson, one of working together and setting aside differences to achieve a common goal. In successfully raising the sky, the people were unaware that they had accidentally trapped the songs of the birds out of reach.
Distraught, the birds came together and agreed that someone must go and retrieve their songs. The first bird to try his luck was Crow. Upon his failure, Hawk came forth and said that surely he would be able to reach the songs. When Hawk could not reach them, Eagle decided to try. With hope in their eye, the birds looked at one another, knowing that surely Eagle would succeed. Eagle flew up high, quickly surpassing Crow’s and Hawk’s distance. But still the songs were out of reach, and even though Eagle could see them, he couldn’t quite reach them. After much clamoring and disarray, Blue Jay called out, “M brothers and sisters, I believe that it is m responsibility to rescue the songs of our people.” At this, the larger birds broke into laughter. “I’m sorry, my brother,” said Eagle, “but if I cannot reach the Sky World, then I doubt that you can.” Blue Ja became angered and proposed that they compete with each other to reach the songs. Eagle agreed. They both left the ground at once, but it wasn't long before Blue Jay jumped on Eagles back. When they reached Eagle’s limit, Blue Jay jumped shot off Eagle’s back and seized the songs tightly. Returning with the songs, Blue Jay declared that from that day forth, the beautiful songs would go to the smaller of the birds and that the doubt of the larger birds would be remembered by their callous squawks and calls.

Icons I (Thunderbird & Salmon)

Edition of 150

Dimensions 15"h x 13"w

2009

$50.00 USD

In the eyes of many people both Native and non, the image of Thunderbird has been of a monumental figure that towers over the people and brings in the storm clouds and with it, lightening and thunder. His eyes gleaming with light and his very breath like a bolt of lightening itself. Known this way by the Kwakwaka’wakw, Nuu-chah-nulth  and Central Coast Salish peoples the massive creature said to have caught whales and devoured them as his food source. 
However, on readings where interviews took place with the Puget Sound peoples anthropologists and missionaries alike found the people of the Lushootseed peoples in many cases, speaking of a very different Thunderbird. This bird was not of enormous size but strength and that power was seen often in the small beings overlooked by man. Here in this piece salmon is used as a size reference to gauge what some interviews said Thunderbird was in scale to a human being for it was not his massiveness that made him colossal, but his very power harnessed within of a storm, and lightening and that his open mouth would light up like harnessed static energy.

Morning Swim

Edition of 100

Dimensions 13"h x 15"w

2009

SOLD OUT

This image was inspired from the experience of being on the water in the early morning of Spring. The islands in the background are not intended to reference any one particular place but suggest anywhere in the Pacific Northwest region. This concept began with a simple sketch of a Killer Whale which is a favorite subject of mine. I also wanted to explore the use of gradient colors to capture the feeling of the cool morning mist on the surface of the water and how it continues out distantly to the surrounding islands. In the background is the moon fading as the sun rises just above the horizon through the morning haze.
I try to imagine that in nature the animal world has it’s need for solace and a solitude from the daily survival. It is perhaps an insight from the way we honor and reflect about the natural world as Native peoples that drives this thought process within me but I see the power that nature has when experienced away from our daily lives with woes of work and common tedious tasks.  These images bound together by print reminds us that among our busy lives peace exists.

Northern Salmon

Edition of 150

Dimensions 13"h x 19"w

2009

$75.00 USD

This is the first limited edition print by the artist that explores a design system that is not of his own heritage. By many classifications the Northwest Coast Native art field spans from Western Washington up through South East Alaska. In these regions are many tribal groups each with their own distinct language, songs, dances and cultural practices. By the early 1900’s much of the occupied lands of tribal people threatened to cease in existence due to government rule which in many cases outlawed cultural practices which included carving and textile work. However, in time the cultural practices regained momentum and transformed into new creations.
Peoples of Western Washington and in particular the Puget Sound are known as Salish (sā-lĭsh) or Coast Salish. Several tribes including but not limited to the Lummi, Tulalip, Suquamish, Puyallup and Nisqually share a root language called Lushootseed. In the old traditions of these people art was not often public but reserved for private ceremonial aspects of the culture. Because of this the only public expression that came from these villages were more often from other tribal groups of British Columbia or Alaska. Many artists, including Shaun Peterson (Qwalsius) were trained in this design style first as it was the most accessible through books and museums. This print acknowledges the differences of Northern people but shares a common respect of the salmon that have long sustained all peoples of the coast for many generations.

Ember

Edition of 85

Dimensions 15"h x 13"w

2010

EXCLUSIVE THROUGH STONINGTON GALLERY

There are variations of the concept I am about to speak of here and I can’t recall where or what version I derived it from but it lead to the creation of this print.
For generations the accumulated knowledge from our ancestors has been handed down like the passing of a torch to keep our fires aglow. In recent generations it has seen a great struggle to survive amidst a whirlwind of challenges. These are teachings for us to experience and are not limited to traditions but ways in which we experience this world while we are here. The Maori have cited it as a thread, some here as cedar. I have envisioned this as an “ember” one which we must cherish as it does not belong to us but is rather borrowed. In 2007 I sat with Bill Holm and at some point he asked my thoughts about design theory and though I can’t recall the question I stopped and told him how surreal the moment was, that I had read about him growing up and that to be speaking with him casually was never expected. He laughed and told me simply “I’m just a man like you. Maybe someday a younger guy may be intimidated to sit with you and talk design but you’ll still just be a man. It’s the things I don’t know that intrigue me and keep me excited about living” he said. To me that embodies what that “ember” is.
This print is not in traditional Coast Salish style imagery. It is more closely related to that of the Tlingit people. In working with various artists over the years I have come to see how despite the great variation of approach or perspective the work we do is in many ways universal. I hesitated for years to create works in tribal traditions that were not my own but it was expressed to me that it would be selfish to keep these to myself.

*available exclusively through the Stonington Gallery with a percentage of proceeds going to the Bill Holm Center for research of Northwest Coast Native American Art studies.

Killer Whale I

Edition of 100

Dimensions 15"h x 13"w

2010

$100.00 USD

This print is part of a series that explores various aspects of the Killer Whale. As I child I often visited Tulalip with my grandmother as that was where she grew up. I recall theimpression I had of how connected the Killer Whale image resonated with my relatives there and in turn to me as well. There are various stories about them but I believe above all it is the characteristics that drive the connection. The bond of family and love of the water are two that come to mind. In any case I am honored to be part of a tradition that exemplifies the power of the Killer Whale through artistic expression.

Eagles and Ravens

Edition of 50
Dimensions 13"h x 19"w
2010

$150.00 USD

The defining characteristics of Coast Salish art in print and painted form have been largely designated to single colors, also known as positive and negative. In the case of this print the positive field refers to the darker areas mostly the raven heads on either side of the edges. This also includes the shapes that define the eagle heads central comprised of crescent shapes just behind the mouth area. In some regions of the Northwest Coast territory particularly up towards the Southeast Alaskan region tribal groups are defined by clans broken between Eagle and Raven. Although this is not the case for Coast Salish communities past nor present I like to use the two birds because the contrasting characteristics lend themselves to the style so well. 

Frogs I

Edition of 50
Dimensions 13"h x 19"w
2010

$150.00 USD 

Frogs I is part of a small series that explores boundaries that have previously defined Coast Salish art traits in the two dimentional aspect. As with any culture changes are inherint so in the abstract exploration of the images herein the artist has used some design elements stepping just outside of the established characteristics. Circle and ovals, crescents and trigon shapes are the foundations upon which Coast Salish artists build their visual works. What has been long praticed is the use of mostly positive and negative design space and little if any color palettes. This growing collection questions some of the definition in what is Coast Salish and what is not as time marches on so does the artistic tradition and it's need to expand into the world.

Eagle Chief and Sun Box

Edition of 75
Dimensions 13"h x 15"w
2010

$175.00 USD

There are many shared stories in the Pacific Northest Indigenous community as it has been for many generations. A story communicates very complex concepts which help to teach values, lessons and knowledge with ties to emotions created by the storyteller. Known by many nations is the story of Eagle Chief and the Sun Box. This variation tells of an Eagle Chief who kept a box that held the sun and the stars within it. This box was a true treasure and literally marked a time when the sky was but a void of true emptiness. The Eagle chief kept the box in his house away from the people outside. He would open it to admire it from time to time and the house would glow from outside. One day a man among the people spoke with the chief when he came out. He questioned his role of chief and that he had power. The chief was insulted and left him. What the chief didn't know was that the man saw inside the house and knew if the lid of the box was removed the sun would rise out to light the sky. For several days the man kept at the chief until one day he let him inside. He brough the box out and opened the lid slightly for him to look inside. The man leaned back unsatisfied he said "a chief with real power could open it and hold the light himself". the chief was angry but removed the lid entirely. The house shook and the light was beaming out. The man laughed as the chief tried to get the lid back on but it was too late the Sun was rising into the sky through the smoke hole of the house. At that moment the Eagle chief transformed and flew up to try to catch it but it was far above. He cried into the sky and has remained in that form since. The man returned to the people who could all admire the beauty of the sunlight that shined down upon them.

Thunderbird

Edition of 200
Dimensions 15"h x 13"w
2010

$150.00 USD 

Released in sync with the dedication of Tacoma's first welcome figure that honors the Puyallup village known as spuy'elepebS. The design makes use of the symbolic colors of Native palettes. The earth red color here signifies the healing power associated with Thunderbird by the Puyallup people long ago. Although it was believed that Thunderbird had white feathers the print and the painted dress pattern worn by the welcome figure convey a healing that is called upon for the devastation of losing a prominent village. Contrary to surrounding tribes who envision the Thunderbird as a massive creature who consumes whales the Puyallup percieved the being to be no larger than a small hawk. It is an indication that power was not associated with mass and that the strength to heal was of equal if not greater importance in the phylosophy of our ancestors. One that we can learn a great deal from today as we look to the future from where we are today.

Killer Whale II

 Edition of 100

15”h x 13”w

2010

 $100.00 USD

This print is part of a series that explores various aspects of the Killer Whale. As I child I often visited Tulalip with my grandmother as that was where she grew up. I recall theimpression I had of how connected the Killer Whale image resonated with my relatives there and in turn to me as well. There are various stories about them but I believe above all it is the characteristics that drive the connection. The bond of family and love of the water are two that come to mind. In any case I am honored to be part of a tradition that exemplifies the power of the Killer Whale through artistic expression.

Alliance

Edition of 100
Dimensions 17"h x 22"w
2011

$150.00 USD

Prominent beings of the sea and the sky, Eagle and the double headed serpent are powerful figures in Coast Salish identity and art. Eagle most commonly associated with honor and dignity, whereas the serpent has two diverse aspects; fear and protection. One way to interpret this pairing for the serpent is that while observing our fears, understanding them and overcoming them to we feel an empowerment. The double headed serpent is often seen within cedar longhouse structure over the doors entrance or a support beam serving as a protection to the house and itʼs owner. Eagle embodying honor reminds us to work towards something often as we are a representation of our family and our people stretching far back to ancestors. We carry ourselves as honorable individuals with respect for ourselves striving to teach our young ones to walk in the same light. This piece is titled “Alliance” as these two beings are vital to our ways. We will always have fears to overcome but we work hard to overcome them and honor those before us, our families and most importantly ourselves.

In Stillness I

Edition of 100
Dimensions 22"h x 17"w
2011

$150.00 USD 

Perhaps the most challenging part of creating art is the need for stillness and clarity. Itʼs been my experience that when I create my most exciting pieces come from me when I am free of thought or trying to apply approaches consciously as I am working. This piece is a direct translation of that. The seated human figure is a man at one with his Thunderbird protector. In one regard, the man and his Thunderbird are one. It is felt that in our cultural teaching we only receive the important things in stillness. Conceptually as well, to receive an idea your mind must be void of judgment or prejudice. We thrive in creativity moving in a positive direction moreso than in anger. The counterpart to this print uses a switch interplay of color for the man and bird symbolizing the interplay of energy shared by the protector and the protected.

In Stillness II

Edition of 100
Dimensions 22"h x 17"w
2011

$150.00 USD 

Perhaps the most challenging part of creating art is the need for stillness and clarity. Itʼs been my experience that when I create my most exciting pieces come from me when I am free of thought or trying to apply approaches consciously as I am working. This piece is a direct translation of that. The seated human figure is a man at one with his Thunderbird protector. In one regard, the man and his Thunderbird are one. It is felt that in our cultural teaching we only receive the important things in stillness. Conceptually as well, to receive an idea your mind must be void of judgment or prejudice. We thrive in creativity moving in a positive direction moreso than in anger. The counterpart to this print uses a switch interplay of color for the man and bird symbolizing the interplay of energy shared by the protector and the protected.

Westcoast Thunderbird II.jpg

Edition of 100
Dimensions 15"h x 13"w
2011

Westcoast Thunderbird II

Edition of 100
Dimensions 13"h x 19"w
2011

Westcoast Wolf Paddle

Edition of 100
Dimensions 6 1/2"h x 19"w
2011

Westcoast Whae Paddle

Edition of 100
Dimensions 6 1/2"h x 19"w
2011

$100.00 USD 

Designed as one of two paddle prints to pay tribute to Nuu-chah-nulth and Makah design which have been regarded as Westcoast design within the larger Northwest Coast Native American art style genre.

Giving Thanks

Edition of 100
Dimensions 13"h x 19"w
2011

$100.00 USD 

One of the beautiful and unique aspects of Nuu-chah-nulth and Makah design style is the use of geometric shapes integrated into the formline composition. This coupled with its variance and near limitless potential to explore very narrative expressions has inspired me a great deal. In my early years studying Northwest Coast Native art I spent time in Neah Bay, Washington carving with Greg Colfax (Makah). It was a time I was learning about the cultural aspects of the art of what is known as the Southern Northwest Coast which include Nuu-chah-nulth, Makah, Coast Salish and Puget Sound Salish people. In 1999 the Makah were successful in their first whale hunt in several decades passed. I was fortunate enough to be present to see all that it entailed. What perhaps was most important to witness was the importance of and constant reminder that the people give thanks for the life that was known as 'transforming'. This 'transformation' was explained as ones life passing to enrich others by their honoring with song, dance, feast and thanks. The original sketch for this concept came to me and I had a whale under the human but I felt that today there is so much more to be thankful for and it shouldn't be limited to a single hunt or historical event but for many occasions that need no specified name or date but to give thanks for many things.

Art of War

Edition of 25

Dimensions 13" x 8"

2011

Contrary to popular belief, war was a part of the landscape in pre-contact times on the Pacific Northwest Coast. Yet the way we think of this concept in Western thought today is a far cry from what it may have been long ago. Various authors and historians have explored this subject in particular with Native culture here in this region but I have been particularly interested in the perspective offered recently by Alexandra Harmon. In her book "Indians in the Making" she touches on backgrounds and reaffirms that Natives in the Puget Sound in particular had protocols in battle that were understood across the territories. 
This concept explains that in war long ago a resolution often forged high ranking families together and that much trade in way of names, songs and dances came through this in turn providing fuel f o r the culture generating wealth. 
This particular piece is inspired by a bone war club from the Puget Sound that is part of the Burke Museum collection. It is however revisited in a style of the Nuuchah- nulth design tradition. I have been inspired for many years by the art of our Nuu-chah-nulth neighbors and love to explore that stylistic traditions when possible. 

Westcoast Blue Jay

Edition of 50
Dimensions 13"h x 19"w
2011

$100.00 USD 

In many stories of the Northwest Coast Native peoples Raven has served as a character of instigation and mystery. However, this is not true in all parts of the various tribes. In particular the Quileute have another view that Raven is often the fool and learns the hard way. In fact it is Blue Jay who stands to be the heroic icon. These aspects of mythology intrigue me a great deal and as an artist I have long been fascinated with the lesser explored characters and unsung heroes as there stories are just as important if not more so that we do not fall back on predictable or 'conventional wisdom" as it leads to stereotypical and cliche novelty. So this is for Blue Jay.

Lovebirds

Edition of 150
Dimensions 15"h x 13"w
2012

$100.00 USD

In the art of the Northwest Coast Native peoples the theme of Lovebirds has become somewhat of a motif for many artists to explore. There are many tribes who have a moiety which divide into Eagle and Raven clans. Although this is not the case of Coast Salish peoples it is an image that can easily demonstrate the coming together of different personalities and equally so mirror the very differences of men and women. Early in the printmaking practice the artist worked in a small studio with a few close friends to create prints for Valentines day. The first was created back in 2002 simply called "Valentines". It was a simple one color image of a man within a spindle whorl motif used by Salish artists commonly where he squats just between two eagle figures holding a heart. Since then the practice has become much more elaborate as the skills of the artist have grown. This print was designed first as a pencil illustration and further developed in the digital process before printing as a limited edition giclee'. It also marks the first use of the heart shape as a prominent object within the print form. The giclee' as a medium has allowed a great deal of expression and dimensionality to come forth that would not easily translate in a serigraph and it's the hope of the artist that people are able to appreciate those subtle details within.