QWALSIUS - SHAUN PETERSON
Po Box 989, Milton, WA 98354-9318
www.qwalsiusstudios.com shaun@qwalsiusstudios.com
Education and Training
I am a Native American artist producing work that is a continuation of the ancient art of the Northwest Coast first peoples. While knowledgeable and invested in diverse tribal styles and applications, my focus and expertise is the art of the Southern regions that encompass the many tribes of Western Washington and Southern British Columbia known as Salish territory. Master artists Steve Brown, Greg Colfax (Makah), George David (Nuu-chah-nulth), and Loren White have trained me in the traditions of my ancestors; their openness of style, technique, and trial efforts in experience continue to make my journey comfortable and rich.
Selected Exhibitions
10 Stonington Gallery, Seattle, WA. Phil Gray and Shaun Peterson : Northern and Southern Traditions
Stonington Gallery, Seattle, WA. The Head Adorned: Helmets, Hats, Frontlets, Masks & Jewelry
Quintana Galleries, Portland, OR. Shaun Peterson: Works on Paper
09 Espace Cosmopolis, Nantes, France. La quinzaine americaine a Cosmopolis: (Coast Salish Art Exhibition)
Stonington Gallery, Seattle, WA. Raven and Eagle: Love of the Northwest Coast
08 Seattle Art Museum, Seattle, WA. S’abadeb: the Gifts. Pacific Coast Salish Art and Artists (traveling)
Stonington Gallery, Seattle, WA. This Coast Salish Place
07 Art Gallery of Greater Victoria, Victoria, BC. Transporters: Contemporary Salish Art
Burke Museum, Seattle, WA. In the Spirit of the Ancestors: Contemporary Northwest Native Art
06 Kaohsiung Cultural Center, Kaohsiung, Taiwan. Raven, Hundred-Pace Viper, and the Ocean: A Transpacific Collaboration in Native Arts
Stonington Gallery, Seattle, WA. Born of Myth and Fire: Celebrating Northwest Art in Glass
05 Museum of Arts & Design, New York, New York. Changing Hands: Art Without Reservation, Part 2 – Contemporary North American Art from the West, Northwest, and Pacific (traveling)
Stonington Gallery, Seattle, WA. Awakenings: An Exhibit of Contemporary Coast Salish Art
Tacoma Art Museum, Tacoma, WA. Carving A Legacy: Innovation in Coast Salish Art
04 Seattle Art Museum, Seattle, WA. Song, Story, Speech: Oral Tradition of Puget Sound’s First People
Stonington Gallery, Seattle, WA. Rekindling Spirit: New Works by Artists of the Pacific
Northwest Coast
03 Stonington Gallery, Seattle, WA. The Ceremonial Season: A Group Exhibition Honoring Tradition, Ceremony and Celebration
Stonington Gallery, Seattle, WA. Evolving Traditions: Northwest Coast Art in Glass
The Evergreen State College Longhouse, Olympia, WA.
First Gathering of Northwest Native Woodcarvers
02 White River Museum, Auburn, WA. Ahl Tee-ah: Art from Salish Roots
Museum of Craft and Folk Art, San Francisco, CA (traveling). Fusing Traditions: Transformations in Glass by Native American Artists
00 Stonington Gallery, Seattle WA. Salish Stories in Cedar and Glass: Shaun Peterson and Steve Brown
Stonington Gallery, Seattle, WA. Transformations & Magic on the Northwest Coast
98 Stonington Gallery, Seattle, WA. Celebrating the Season: Vessels for the Feast
Select Commissions/Installations
September 2010 City of Tacoma & Puyallup Tribe of Indians, Tacoma, WA.
Known historically to the Puyallup people as spuy'elepebS the section of land now called Tollefson Plaza is home to a female welcome figure standing approximately 24ft tall. This was a commission which faced many complications and challenges and marked an important partnership between the City of Tacoma, Puyallup tribe and Tacoma Art Museum. Highly innovated, a metal support system was devised and embedded within the sculpture for it’s structural support. It signifies Puyallup as well as the greater Coast Salish communities presence in the modern era.
May 2006 Puyallup Tribal Health Authority- Pediatrics, Tacoma, WA.
Ten designs were conceptualized to brighten the blank white privacy films of the exam room windows throughout the newly refurbished pediatrics facility of the Health Authority. Designs were done in a child like rendering of characters in Adobe Illustrator and output as color print vinyl for durability each in 24” diameter including Sun, Moon, Frog, Blue Jay, Red Tail Hawk, Beaver, Squirrel, Salmon, Killer Whale and Salmon Mother and embryo.
June 2005 Muckleshoot Health & Wellness Center, Auburn, WA.
Five glass and cedar panels were commissioned through Stonington Gallery for the Muckleshoot Tribe’s new health facility. Subjects of characters were largely determined by individuals on the health committee for the artwork. All five panels: sandblasted glass, red cedar, acrylic. “Bear” and “Raven” (vertical) 46”h x 34”w x 3 ½”d. “Elk”, “Deer”, and “Salmon” 34”h x 46”w x 3 ½”d.
May 2005 Emerald Queen Casino Hotel & Restaurant, Fife, WA.
Nine glass panels were commissioned to enhance the casino’s restaurant area with Native American décor referencing the local Salish style through glass work using the image of salmon and halibut. “Salmon glass panels” (4 pair) sandblasted glass 20”h x 54”w x 3/8”d. “Halibut glass panel” sandblasted glass 20”h x 36”w x 3/8”d.
September 2004 Puyallup Tribal Health Authority, Tacoma, WA.
Three aluminum wall hangings water jet and laser cut were commissioned to enhance the newly renovated administration facilities. Once cut the works were powder coated to coordinate with the color scheme of the new building interior. Existing print works as well as original paintings were a part of the purchase for the job. “Killer Whale” powder coated aluminum 46”h x 98”w x 3/16” d. “Arched Salmon” powder coated aluminum 48”h x 96”w x 3/16”d. “Salmon and Egg” powder coated aluminum 72”h x 72”w x 3/16”d.
September 2002 Portland Avenue Business District, Tacoma, WA.
Designed light standards and bus shelters utilizing traditional Coast Salish designs for the Portland Avenue Business District and Pierce Transit. The bus shelters (2) are designed using a Salmon motif and ancient tribal design using basic elements of the tribal art. The light standards (8) alternate between Frog and Moon designs. “Salmon Continuum” bus shelter - aluminum, sandblasted glass, paint 98”h x 78”w x 48”d. “Frog Woman” powder coated aluminum 32”h x 46”w x 3/8”d. “Dakwibalth-Moon/Changer” powder coated aluminum 32”h x 42”w x 3/8”d.
August 2002 Puyallup Tribe of Indians. Tacoma, WA.
First Fisherman wool blanket reproduced by Northwest Pendleton Company. A call to artists was made by the Tribal council seeking artists to design a blanket that would represent the Puyallup Nation. The relevance of the design and title pertain dearly to the people and their famous struggle with the right to fish as promised in the Medicine Creek Treaty of 1854. Wool 62”w x 78”h.
December 2001 Mount Baker Ski Resort, Bellingham, WA.
Six paintings on canvas were commissioned for the resort’s annual banked slalom event in which the placed winners accept awards in the form of art rather than cash prizes. Acrylic on canvas. “Eagle” and “Blue Jay” 36”w x 48”h. “Wolf “ and “Moon” 32”w x 36”h. “Butterfly” and “Raven” 22”w x 28”h.
August 2001 Pilchuck Glass School, Stanwood, WA.
Participating carver in the creation the “Founder’s Totem Pole” at the Pilchuck Glass School campus entrance. The pole designed in the Tlingit style incorporates a number of different media to convey a very unique look that is both traditional and contemporary with use of cedar, cast glass elements, and neon backlighting. Carvers: Wayne Price, John Hagen, Greg Horner, Joe David, Steve Brown, Shaun Peterson, and Daisuke Nakajima. Glass team: Preston Singletary, Kathy Chase, Reese Williams, and Dan Friday. Chilkat design: Clarissa Hudson. Neon: David Svenson. Red cedar, cast and blown glass, paint, neon. 20’h x 30”w x 20”d.
November 1999 Seattle Center, Seattle, WA.
“Powers of the Natural World” panels were commissioned to enhance the food court of the Seattle Center during the “Folk Life Festival”. The two panels were done in the Coast Salish style in form of etched Plexiglas enclosed by a cedar frame above the West entry doorway in the center plaza. Design team: Steve Brown and Shaun Peterson. “Killer Whale” and “Thunderbird” Plexiglas, red cedar. 20”h x 76”w x ¾“d.
June 1999 Economic Development Department, Tacoma, WA.
“Salmon, Moon, and Mountain” mural consisting of a two-piece red cedar panel with acrylic on the wall surface. Low relief carving on the unpainted red cedar helped to bring an element of Northwest Native imagery to the lobby of the Economic Development Department on the 10th floor of the Tacoma Municipal Building. Red cedar, cedar bark, acrylic, abalone shell. 42”h x 78”w x ¾ “d. “Eagle Spirit” designed glass doors for the entrance to the meeting room around the corner from the lobby. Etched glass, copper. 72”h x 72”w x 3/8 “d.
August 1998 Puyallup Tribal Health Authority, Tacoma, WA.
“Eagle Mother” Commissioned as part of an anti-violence message in an awareness of domestic abuse campaign. Acrylic on arches. 15”h x 12”w.
December 1998 Mount Baker Ski Resort, Bellingham, WA.
Twelve hand painted drums varied in size from 10 in. o 24 in. in diameter. Eight ceremonial dance paddles in red cedar painted red and black 48”h x 6”w x ¾ “d. Graphic design work for the Banked Slalom booklet cover entitled “Raven” acrylic on arches. 30”h x 30”w.
June 1998 Seattle Aquarium, Seattle, WA.
Seattle Aquarium in association with Seattle Arts Commission sought out an artist to create works in cedar to coincide with the aquariums new permanent “Watershed” exhibit as to demonstrate the relationship of natural watershed habitat and Northwest Coast Native Arts. The three panels were carved in the Coast Salish style from red cedar. “Raven” red cedar. 35”h x 50”w x ¾ “d. “Sea Otter” red cedar. 33”h x 34”w x ¾”d. “Salmon” red cedar. 40”h x 48”w x ¾ “d.
June 1996 Chief Leschi Schools, Puyallup, WA.
“Return of the Story Pole” created for the entrance of the school along with two large panels representing the Puyallup Tribe and the School itself. The pole was the first carved and raised representing Puyallup tribal mythology in
over sixty years prior its existence. Carvers: Shaun Peterson, Bruce Cook III, Jerry Jones, Reuben Wright Jr., Jim Ancheta, and Mac McCloud.
Graphic Design
September 09 Puyallup Tribe of Indians, Tacoma, WA.
Created a logo and color palette for administration offices based on a request to repurpose an existing serigraph titled ‘Grandmother’. The logo was for a new elders building which offers services to the local Native community. The logo was reformatted to be used in stationary, web applications and signage as well as apparel for special events.
May 09 Puyallup Tribal Health Authority, Tacoma, WA.
Developed a rebranding strategy to identify the administration with their tribal community by replacing an existing logo that did not reflect Coast Salish heritage. The project called for an in depth overhaul to include brand identity with use of colors and fonts aside from a logo that was formatted in several aspects to be used in various applications including stationary to apparel for administrative staff.
Collections
Seattle Art Museum
Fred Hutch Cancer Research Center
Swedish Medical Hospital
City of Tacoma: Cultural & Tourism Division
Fuzhou, China: Government collection
Kaohsiung, Taiwan: Government collection
Kitakyushu, Japan: Government collection
Demonstrations and Lectures
05 Stonington Gallery, Seattle, WA. “The Puget Sound Tide Rises: Contemporary Coast Salish Art in 21st Century”
02 The Burke Museum, Seattle, WA. “Winter at the Burke: Native American Carvers Demonstrate Their Talents”
The Squaxin Island Museum Library and Research Center, Squaxin Island, WA. “Salish Design: A Historical Overview”
01 Stonington Gallery, Seattle, WA. “Carving Demonstrations at the Stonington Gallery”
Publications
10 Cooper, Kathleen. “Statue unveiling brings Puyallup Tribe, Tacoma together at Tollefson Plaza” The Tacoma News Tribune, South Sound. September 19th, 2010
Ponnekanti, Rosemary. “20-foot carving will welcome Tacoma visitors”The Tacoma News Tribune, Main. August 15th, 2010
09 Jensen, Clare. “Cultures Overlap” Puyallup Tribal News. September 3rd, 2009
Haley, Peter. “She’ll Welcome Visitors to the Plaza”. The Tacoma News Tribune, South Sound. September 2nd, 2009
08 Farr, Sheila. "S'abadeb — The Gifts": An inside look at Coast Salish art and culture. The Seattle Times, Entertainment & the Arts section. October 19th, 2008.
05 Hsu, Judy Chia Hui. “Coast Salish art for the ages from two generations”. The Seattle Times, Entertainment & the Arts section. September 16th, 2005.
Wagonfeld, Judy “’Awakenings’ breathes new life into Salish’s spiritual heritage.” The Seattle PI, Theatre/Fine Arts sections. August 26th, 2005
Graves ,Jen. “Saluting the Salish” The Tacoma News Tribune, Soundlife. June 17th, 2005
03 Gangelhoff ,Bonnie. “Singing to the Moon” Southwest Art Magazine: Indian Art edition.
August 2003.
Wagonfeld , Judy. “The Perfect Couple: Native American artifacts and Glass Art”. The Seattle PI, Theater/Fine Arts section. June 6th, 2003
02 Graves, Jen. “Salish Ways” The Tacoma News Tribune, Soundlife. November 28th, 2002
Stein ,Julie and Phillips ,Laura. Vashon Island Archaeology: A View form Burton Acres Shell Midden. University of Washington Press 2002
Kastner ,Carolyn. Fusing Traditions: Transformations in Glass by Native American Artists. Catalogue; Museum of Craft & Folk Art 2002.
McNutt ,Nan. Uncle Jerry’s Canoe. Evergreen State College 2002
Brown ,Steve. “Norman Feder and the Central Coast Salish Style” A Tribute to Norman Feder: European Studies of American Indian Art. European Review of Native American Studies. University of Washington Press 2001
Brown , Steve . “Back to the Roots: Rebirth in the Central Coast Salish Style” Native Visions: Evolution in Northwest Coast Art from the Eighteenth through the Twentieth Century. University of Washington Press 1998.