abenaki heritage

***For a list of artists in alphabetical order Click Here***

Image of acrylic painting of Yosemite National Park. — _{Acrylic painting of Yosemite National Park}

Image of charcoal drawing of Banff by Lisa Ainsworth Plourde. — _{Charcoal drawing of Banff}

Image of watercolor ladyslipper by Lisa Ainsworth Plourde. — _{Watercolor painting of ladyslipper}

Image of cradleboard by Lisa Ainsworth Plourde. — _Cradleboard

Affiliations

Citizen of the Nulhegan Band of the Coosuk Abenaki Nation
Title 6 Indian Education Instructor
NH Artists’ Association

Awards

NH Art Educator of the Year

Artists by Media

October 5, 2024April 12, 2021 by Administrator

Image of gourd with dreamcatcher. — _{Gourd with dreamcatcher and deer antlers made by Jeanne Morningstar Kent}

Traditional arts are listed on the left of the page and contemporary artforms are listed on the right side. They are listed by media.

Artists are organized by media and skill level*.

See definitions of skill levels below.

Click on the artist’s name to view their profiles, images of their art, artist bios, and artist statements.

ARTIST SKILL LEVELS

MCB = Master Culture Bearers have a superior skill level, mentor emerging artists, exhibit their artwork internationally, and have received awards for their artwork or work with and for the community.

M = Master Artists have practiced their craft for at least 10 years are familiar with the history of their art form. They have exhibited their work, offer workshops and lectures.

J = Journey Person have practiced and sold their craft for at least 5 years.

Crafts-person (C) = Craftspeople are can either be self-taught or had some lessons but they are not doing an apprenticeship with a Master Artist. They do not have the technical expertise to be considered for the Journeyman or Master Artist categories.

A = Apprentices are in the process of learning their craft.

TRADITIONAL ART

BARK CANOE MAKER

ASH BASKETMAKERS

BEADWORK

Michael Descoteaux (A)

Melody Mackin (J)

Lori Lambert (M)

Francine Poitras Jones (A)

Paul René Tamburro (J)

COILED BASKETS

DANCERS

Takara Hansell (M)

FIBER ART

Vera Longtoe Sheehan (M)

Linda Longtoe Sheehan (M)

FINGER WEAVING

Melody Mackin (J)

GOURDS

Jeanne Morningstar Kent (MCB)

Norm M’Sadoques (M)

JEWELRY

J ean Burbo (J)

Linda Longtoe Sheehan (M)

Paul René Tamburro (M)

LEATHER

Shirly Hook (J)

Francine Poitras Jones (J)

Don Stevens (J)

Jesse Bowman Bruchac (M) – Abenaki Linguist

LINGUISTICS/LANGUAGE TEACHER

MUSIC

Jesse Bowman Bruchac (M)

Joseph Bruchac (M)

Elnu Abenaki Singers

Nulhegan Abenaki Drum

Michael Descoteaux (A) Drums and Rattles

Don Stevens

J im Taylor

MUSICAL INSTRUMENTS

Lance Hodgdon (A) Flutes

Shirly Hook (J) Rattles

Brian Chenevert (J) Rattles

REGALIA – Clothing, Sashes and Bags

Jean Burbo (J)

June Roberts Wesley (J)

PIPE MAKER

Roger Longtoe Sheehan (M)

QUILLWORK

Jesse Bowman Bruchac (M) – Abenaki Linguist

STORY TELLERS

Joseph Bruchac

Brian Chenevert

Don Stevens

Paul René Tamburro (J)

Linda Longtoe Sheehan (M)

TWINED BAGS

Vera Longtoe Sheehan (M)

WAMPUM

Norm M’Sadoques (J)

WEAVING

Bill Gould (M)

Sherry Gould (M)

Vera Longtoe Sheehan (M)

WOOD CARVING – Bowls, Dancing Sticks, War Clubs, Snow Snakes and Paddles

Norm M’Sadoques (M)

CONTEMPORARY ART

AUTHORS

Jeanne Morningstar Kent

Lori Lambert

Jon Manitouabe8ich (M)

Trudy Ann Parker

J esse Bowman Bruchac, Abenaki Linguist

CONSULTANTS

Jeanne Morningstar Kent

Carol Billings McGranahan (A)

CRAFTSPERSON

Lisa Ainsworth Plourde

CULINARY ARTS

Jessee Lawyer (M)

DECORATIVE ARTS

Vicki Blanchard (A)

Lucy Cannon-Neel (A)

FASHION

Jean Burbo (J), Regalia and Jewel ry

Takara Hansell (M), Clothing and Beadwork

J une Roberts Wesley (J), Regalia

FILM

Lori Lambert (M)

Lina Longtoe (J )

Michael Descoteaux (J) Photograph y

FINE ART

Francine Poitras Jones (J) Painter

Jeanne Morningstar Kent (MCB)

Lina Long toe (J) Photography

Jon Manitouabe8ich (M) – Painter & Graphic Art

Takara Hansell (J) Painter

Lucy Cannon Neel (A)

Diane Stevens (J) Photographer

Amy Hook-Therrien (J) Painter – Watercolors

GUEST SPEAKERS

Melody Mackin

Joseph Bruchac

M ichael Descoteaux (A) Beadwork

JEWELRY

Shirly Ho ok (J), Jewelry

Francine Poitras Jones (A) Beadwork

T akara Hansell (M), Beadwork

Paul René Tamburro (J), Silver & Copper Jewelry

Linda Longtoe Sheehan (M), Wampum Jewelry

LEATHER

Francine Poitras Jones (J)

MODERN MUSIC

Jesse Bowman Bruchac (M), Abenaki Linguist

PAN INDIAN

Jean Burbo (J), Regalia

Billie Jo Garfield (A), Regalia

Takara Hansell (M), Regalia and Beadwork

Nathan Johnson (J), Regalia

Lori Lambert (M), Regalia and Beadwork

June Roberts Wesley (J), Regalia and Beadwork

PERFORMING ARTS

T akara Hansell, Dancer

Nathan Johnson, Dancer

SCHOLARS/HISTORIANS

Melody Mackin

Lori Lambert, PhD, DS

Paul René Tamburro

Frederick M. Wiseman

Wood Carving

Carol Billings McGranaghan

May 21, 2024April 9, 2021 by Administrator

Enrolled Citizen of the Abenaki Nation of Missisquoi

Juried Artist since 2017

Carol Billings McGranaghan has served the community as a member of the Vermont Commission on Native America Affairs. She is also a culinary artist who follows the traditions of her grandmothers who taught her about wild edible plants. She uses this knowledge of regional edible plants to create her one of a kind jams and jellies.

Artist Statement

I was born and raised in the Northeast Kingdom of Vermont. My parents and grandparents taught me about plants, gardens, and “living off the land.” My interest in plants really started with my paternal Grandmother showing me the different wild flowers and what they were for, which were edible and how to care for them so they could continue for generations. Mom made chokecherry and apple jelly – the reason I started researching wild flowers and herbs to make my own products. Each season brings yet more to find and more to learn about, which provides an ongoing learning experience.

I also do beadwork. That interest was initiated at my other Grandmother’s knee. She showed me how to weave seed beads, string beads using patterns and colors to tell a story and how to use natural materials as beads. I have been selling my handmade beaded jewelry on Etsy for several years now. I am currently learning how to weave baskets, both in traditional and non-traditional designs.

I have participated in many panel discussions about Abenaki subjects, from wearing our heritage to women’s roles today, the history of Abenaki survival from colonization to the trauma of the Vermont eugenics survey and present day ethnic mascots. I teach my grandson about smudging, our plants/animals and the traditional stories so he will have an understanding of Abenaki history, to be proud of it, and to pass it on to others when he’s older.

I was appointed to the Vermont Commission of Native Affairs in 2016. I was elected Vice-Chair in 2017 and Chair in 2018-2019, 2019-2020, and 2020-2021. In 2018, one of my first projects was to have the items which were gifted to Vermont at the time of State recognition for the four Abenaki tribes installed as a permanent display in the Vermont State House. In 2019, with the assistance of the Friends of the State House, we held a celebration on the State House lawn for the opening of the display, the declaration of Abenaki Heritage Week and for Indigenous Peoples’ Day being passed into law. I provided training sessions to the State House tour guides so they would have a better understanding of Abenaki history. In 2020, I worked with the legislature to have Abenaki names added to state park signs. In 2021, members of the VCNAA and I provided testimony in behalf of the eugenics survey apology and in support of schools who were attempting to change their ethnic school mascots.

I have worked closely with Carol Irons, another member of the Commission, to present and teach basic Abenaki history, culture, and customs to both adults and students as part of the Abenaki Cultural Regeneration project. I welcome the opportunity to share this learning with others who are interested.

Contact

Late Period (1890-1970) Indian Baskets In Vermont

Etsy Store: Hidden Bear

Image of jar of Queen Anne's Lace jelly. — _{Queen Anne’s Lace jelly made by Carol}

Image of necklaces made by Carol. — _{Necklaces made by Carol.}

Image of Assorted Hidden Bear Treasures Jellies. — _{Assorted Hidden Bear Treasures Jellies}

Speaking Engagements and Exhibits

2024

Co-author of Sustainability Article: Restoring a Degraded
Riparian Forested Buffer While Balancing Phosphorus
Remediation, Biodiversity and Indigenous Land Access
Co-Presenter at Northeast Organic Farming Association on
Shelburne Farms project
Presenter at Essex High School Cultural Diversity event
Honoring the Plants and Pollinators presentations to schools and libraries
Guest Teacher at Sage Mountain summer school and after school programs
Presenter on Abenaki culture Northwoods Stewardship

2023

Consultant on development of first plant pallet for UVM
Shelburne Farms phosphorus mitigation project
Co-Presenter at New Moon Mycology Summit
Honoring the Plants and Pollinators presentations to
schools, libraries, senior citizens
Guest Teacher at Sage Mountain summer school and after
school programs
Presenter at Exeter School (New Hampshire)

2022

Legislative testimony on Eugenics Apology
School mascot discussions and legislative testimony
Honoring the Plants and Pollinators presentations to schools and libraries

2021

Participant in International Center for Transitional Justice workshop on Truth and Accountability
Indigenous Plant consultant on UVM Shelburne Farms phosphorous mitigation project

2020

Abenaki Opening Devotional in the Vermont Legislative House
Moccasin Tracks interview on VCNAA updates
Legislative work to add Abenaki names to state signs
WCAX interview for Abenaki state park signage
WCAX interview for Deb Haaland appointment to Secretary of the Interior
Appointed to Vermont Racial Equity Task Force

2019

Provided training for State House tour guides on the Abenaki display
Moccasin Tracks interview on VCNAA
Endangered Alphabets Abenaki Perspective, Vermont Statehouse, Montpelier VT
Overview of Abenaki History and Culture, Proctor School, Proctor VT
Abenaki Cultural Regeneration Camp, Northwoods Stewardship, Charleston VT
Permanent Installation of display for the Abenaki recognition items
Smudged, labeled and installed the permanent display of Abenaki recognition items
Stowe High School Indigenous Peoples’ Day presentation

2018

Abenaki Cultural Regeneration Camp, Northwoods Stewardship, Charleston VT
Abenaki Stories and Drumming, Button Bay Campground, Ferrisburg VT
Overview of Abenaki History and Culture, Whitingham Middle School, Whitingham VT

2017

Wearing Our Heritage Panel Discussion, Shelburne Library, Shelburne VT.

Affiliations

Racial Equity Task Force (2020-2022)
Vice-Chair Friends of the State House Board (2023-2025)
Indigenous Plant Consultant UVM Shelburne Farms Phosphorus Mitigation (2021 – present)
Appointment by Governor Scott to the Racial Equity Task Force (2020-2021)
Social Equity Task Force (2020-2021)
Social Equity Caucus (2020-2021)
Friends of the Vermont Statehouse, Panel member
Abenaki Cultural Regeneration Project, Co-leader
Vermont Abenaki Artists Association
Vermont Commission on Native American Affairs member since 2016. Vice Chair 2017, Chair 2018 – 2019, 2019 – 2020, 2020 – 2021, and 2021 – 2022

Artisan Levels

December 14, 2023March 29, 2021 by Administrator

When artists join VAAA their work is juried and they are classified into one of the following four categories. Artists may also request their artwork be reevaluated annually or after receiving appropriate awards.

Master Culture Bearer (MCB)

Birchbark Moose Call made by Aaron York. — Birchbark Moose Caller made by Aaron York

Master Culture Bearers are few and far between because this distinction requires superior skill level, mentoring Abenaki apprentices, and emerging artists using traditional Abenaki epistemology. They have exhibited their artwork internationally, and have earned awards for their artwork or work with/for the Abenaki community. They have a long-standing record of service to their community, VAAA, and the arts and humanities organizations. Some may also have academic credentials that support their traditional knowledge. Anyone applying for this level must provide a resume of their achievements, photo samples of their work and original pieces to be examined if requested. By this time in their career, they should be well known throughout the region. (Please note that this is a new category.)

Master Artists (M)
Most Master Artists are culture bearers that are bringing traditional arts to the next generation. They must be knowledgeable about the history of their chosen art form, how to harvest and prepare the necessary materials. They have their own style, create original pieces, not replicas. Their work is increasingly original, and they may be increasingly pushing the boundaries of their chosen medium, and they have designed and taught classes and workshops about their medium. Their art is sought after by museums, galleries, and collectors. Master Artists must also be available as a jurist for new artists coming into the category of their art form. Anyone applying for this level must provide a resume of their achievements, photo samples of their work and original pieces to be examined if requested. By this time in their career, they should be well known throughout the region. A journeyman who has been selling their pieces professionally may apply to be juried after ten years. Application does not guarantee designation of a title.

Journeyman (J)

Silver cuffs by Paul Rene Tamburro.. — Sterling silver cuffs made by Paul-Rene Tamburro

The minimum requirements to being a Journeyman are to have practiced a craft for at least five years. They have achieved technical proficiency but are still developing their style, and they make professional looking pieces that are of high quality to sell. Some Journeymen may be beginning to exhibit their works and be thinking about teaching workshops. Apprentices are eligible to apply for this level after three to five year period as an apprentice, but they must show significant growth in their skill and creativity before they apply to be re-juried for this designation or title.

Craftsperson (C)

Craftspeople are can either be self-taught or had some lessons but they are not doing an apprenticeship with a Master Artist. They do not have the technical expertise to be considered for the Journeyman or Master Artist categories.

Apprentice (A)

Four turtle shell rattles with fur on handles made by Michael Descoteaux.

Apprentices are taking their first step on their journey as an artist. They are in the process of learning about the tools and techniques of their craft. During this stage, their work may appear primitive or inconsistent in quality. Through practice, they are developing proficiency. Some apprentices are studying with VAAA Master Artists while others are learning from other culture bearers. Apprentices can also be self-taught through research, trial, and error. Although apprenticeship typically lasts a few years, they will not automatically move on to the next level. They must request that the VAAA committee required them. If successful they will move on to be a Journeyman and if not they may remain Apprentices for a longer period. Kits may never be used during the jurying process.

Application & Rejurying

June 9, 2023March 29, 2021 by Administrator

Applying to Become a VAAA Juried Artist

Examples of parfleche by Nathan Johnson. — Examples of parfleche

Thank you for your interest in applying to be a juried artisan with the Vermont Abenaki Artists Association (VAAA). Our mission is to promote Vermont’s Indigenous arts and artists, to provide an organized central place to share creative ideas; professional development; and a have a method for the public to find and engage Abenaki artists.

How to request a VAAA application? Email [email protected] to request an application form. Please provide your name, contact information, Abenaki Tribal affiliation, and Tribal ID number. After your status as a citizen in a state-recognized Abenaki tribe is confirmed, we will send you an application packet with more details and directions.

Please prepare to have good-quality photos of your craft/art, an artist statement, and biographical information about yourself as an artist, such as how you learned what you do and where you may have exhibited it.

Who is responsible for jurying new VAAA artists? The VAAA jury is comprised of four artists, one from each recognized Abenaki Tribe. Two have degrees in fine art, and two are traditional artists. Master Artists and Consultants are also called upon to help jury art within their area of expertise. When a VAAA artist applies to be juried or is nominated for an award, they must recuse themselves from voting, and a consultant is appointed in their place.

How can I apply to be rejuried into a new category or artistry group? Submit a letter describing your request with 3 to 5 high-resolution images of your work and an updated artist statement. Email your request to [email protected]

Historic Art

June 9, 2023March 29, 2021 by Administrator

The Historic Indigenous Arts of Vermont and New Hampshire

By Frederick M. Wiseman Ph.D.

Introduction

When we think of indigenous American craft arts, we immediately think of Navajo rugs and Tahono o’odam (Papago) basketry. Or perhaps the woodcarvings of the Northwest Coast of North America. Possibly one of the least recognized historical Native American crafts regions of North America is the Far Northeast, only a few books will mention baskets made by Maine or Canadian Maritime tribes. However, Vermont and New Hampshire have a vibrant but little known artistic tradition stretching back over 10,000 years. The oldest artistic works are made of stone, chipped or ground into beautiful but useful tools such as the clean, almost Art Deco-looking lines of Vermont Middle Archaic Period gouges, the tight design of Late Archaic lapidary jewelry, or the evocative rock-carved human face petroglyphs at Bellows Falls. However, except for stone, and a few pieces of shell, there is little that remains, underground of this rich artistic tradition. During the So-Called Colonial Era (1609-ca. 1800) the Indigenous Arts of our region are still little understood and seem to resemble those of neighboring tribes. There are occasional pieces of 18th century quillwork-decorated leather craft or twined basketry residing in museums and private collections illustrating the precise work and artistic flair of the People. Unfortunately, they are so similar to items made by our Penobscot, Huron and Iroquois neighbors that there has been little effort by art historians to find out what is specific to our region.

Below, are a few examples of older art traditions that have good ties to the VT/NH region and its immediate environs of southern Quebec. These show a careful choice of material, excellent plotting out the eventual form, and meticulous care in decoration — evidence of a well developed craft tradition that its practitioners were very comfortable with. Many of our 19th and early 20th-century craft arts seem to have its closest ties to the great multiethnic Indian Village of Kahnawake, south of Montreal, but other traditions especially basketry shows early artistic similarity to Southern New England, while cloth seems more similar to our Wabanaki brethren, showing that our area was a great crossroads of artistic ideas flowing throughout the region.

Woodcraft

Image of Root club, stylistically similar to the Newport, VT example; early 20th century. — Root club, stylistically similar to the Newport, VT example; early 20th century.

Most Indigenous Vermont and New Hampshire wood craft is very utilitarian, and probably would not be classed as fine or decorative art. However, some particular forms, such as crooked knives and root clubs have become accepted as valuable craft arts by art historians and critics. We do see nice examples of these tools that have come from our area, but have a distinct stylistic look. Root clubs, for example, did not seem to be made and sold in Vermont as tourist items, although very similar looking ones were sold for that purpose at Kahnawake. These root clubs tend to be carved relatively simply with minimal decoration, usually of fine ink or watercolor delineating bird-like beaks and eyes, rather than the fine carved detailing and painted design demanded by tourist buyers. Instead, we have a documented example that seemed to be used in healing, and another that was used to keep order within a family, indicating that they remained, at least in part, internal cultural implements.

Image of Well designed crooked Knife. Birch Handle, ground-file blade and brass wire wrap. 19th century East side Lake Memphramagog. — Well designed crooked Knife. Birch Handle, ground-file blade and brass wire wrap. 19th century East side Lake Memphramagog.

Another well-designed and executed wooden implement is the crooked knife (often called “basket-knife” in VT). These distinctive native-design tools seem as rare as root clubs and are almost always entirely utilitarian. However, one crooked knife with a provenance just north of the Canadian Border in the Southern Eastern Townships of Quebec is finely crafted with beautiful incised and filled detail on the obverse and an artistically sweeping rake to the blade; thereby making a classic pieces of Northeastern Native art. (Photo to the right)

Image of Twig decoy, Early 20th century, Fitch Bay (east of Lake Memphremogog) QC). — Twig decoy, Early 20th century, Fitch Bay (east of Lake Memphremagog) QC).

In the last 50 years or so decoys have emerged as a great vernacular art tradition, with many fetching many thousands of dollars at auction. Although there are Vermont decoy carvers with Indigenous heritage their creations are not considered “Indian Art.” However, a composite twig decoy from the same area as the crooked knife is so similar to the Cree “Tamarack Twig” decoys accepted as legitimate Indian Art that we will list it here. This is a goose “shadow decoy” constructed of black or river birch twigs and bound with cotton twine. A Nulhegan band elder remembered their use in middle 20th century cornfields around Lake Memphramagog to attract Canada geese to the shotgun. When viewed from a distance, the decoy has a wonderful flowing stance, and as the elder said “looks like a goose to another goose.. (Photo to the right)

These few items are only an introduction to the richness of historic Indigenous woodcraft of our region. Old bowls, spoons, wall-hangings, cups, walking staffs and even furniture remain to this day to grace museums and collections.

Fashion design

Image of Woman's cotton twill dress and red cloth sash ca. 1900 Connecticut River Valley, VT. — Woman’s cotton twill dress and red cloth sash ca. 1900 Connecticut River Valley, VT.

Since the 1970’s, beaded clothing and fashion accessories of our neighbors to the East have become some of the most collected and valuable of any Native American art. Fortunately, our regional styles have not seen such interest or even study by elite art collectors, and so the materials are still somewhat available and collectable by Indigenous museums and cultural organizations. I find that some of the late 19th and early 20th century clothing used by basketsellers especially interesting. It combines European materials such as cloth and ribbons with indigenous motifs to make a distinctive, but underappreciated fashion that I call “cut-cloth Fringe’ style. We have several examples of this style from the Connecticut River Valley and Lake Champlain which seem to date from the 1890’s to about the beginning of the Great Depression. The example that I share here is made from a tan twilled cotton with patchwork and ribbon-work detail below the neck and above the hem. It is sturdy and technically well made, so much so that it is still worn for educational purposes. (Photo to the right)

Of course everyone wants to know about “Abenaki Beadwork,” and unfortunately, pre-1900 Indigenous Vermont/New Hampshire beaded cloth is the most elusive craft art that remains today. There is one late 18th/early 19th century beaded moccasin vamp or epaulet that was found in NW Vermont that is in a generalized style that may or may not be Vermont Abenaki, but was at least used here at one point. (Photo below).

Image of Beaded wool panel, Trade wool, silk ribbon, glass beads. Early 19th century, found in Swanton, VT — Beaded wool panel, Trade wool, silk ribbon, glass beads. Early 19th century, found in Swanton, VT

Image of Flat Bag with beadwork. Velvet, cotton liner, glass beads. Mid or late 19th century, probably Abenaki — Flat Bag with beadwork. Velvet, cotton liner, glass beads. Mid or late 19th century, probably Abenaki

Probably a more characteristic style is the mid 19th century “flat bag” or reticule described below. It has a form related to the typical “tulip” or “inverted keyhole” bag sold by the Eastern Wabanaki people of New Brunswick and Nova Scotia. However, the beadwork itself is distinctive and unlike that of the standard Wabanaki to the East, or the Iroquois styles to the west. Unfortunately, it has not yet attracted interest of collectors, museums and academics, so it is uncertain exactly whether this is a “Montreal Area,” “Eastern Townships (Quebec) area,” “Vermont area” “or “New Hampshire area” style; or all of the above. However, I believe that it represents the best candidate style for having been produced here in the mid 19th century. (Photo to the right)

Basketry

Image of Early 19th century ash-splint Basket. Vernon, VT. — Early 19th century ash-splint Basket. Vernon, VT.

The one craft art likely to show up in VT/NH antique shops is ash-splint basketry, and there are many styles and types. I will illustrate two of the older more utilitarian types that were made before the ubiquitous “sweetgrass” and “cowiss” touristic souvenir baskets that are so common today. Ash splint basket making in VT/NH basically went extinct in the 1930’s. Baskets after that time seem to be made by expatriate basket sellers from Canada or Maine who sold tourist goods in places such as the White Mountains Intervale or the shores of Lake Champlain. (Photo to the right)

Image of Turn of the 2Oth century ash splint Basket — Turn of the 2Oth century ash splint Basket

The first early type is from the 1830’s and is more closely related to southern New England basketry, in its “varying splint” construction and the use of stamping and or painting on the wide splints as decoration. it was probably used like a bandbox, for the storage of lightweight household and fashion goods such as yarn or hats. The second basket, probably from the third quarter of the 19th century, still retains the varying splints, but now shows direct influence of basketry evolution to the East, in its checkerboard (rectangular) base and the treatment of the radiating splints on the lid. Instead of being stamped, the wider splints are “daub-dyed” or pigment painted only on the outside before weaving the basket. The later, turn of the 20th century dyed ash splints are dipped in dye and thus show the color both inside and out. Both of these early basket styles are relatively uncommon in VT/NH and even less common with a good provenance placing them here in the 19th century. (Photo to the right)

Image of two coiled horsehair baskets made with brown horsehair foundation and black hair ties left, and black horsehair and white hair ties, right. Probably early 20th century. St Albans, VT — Two coiled horsehair baskets made with brown horsehair foundation and black hair ties left, and black horsehair and white hair ties, right. Probably early 20th century. St. Albans, VT

Another important basket type is the coiled basket. Even more elusive than early beadwork, coiled basketry is only known from two areas in the Northeast, the Passamaquoddies and a single family in Northwestern VT. These are tiny items, made from carefully selected and prepared horse-hair, similar to the much more well known Thono O’odam tourist wares. As with most local wares, there is no historical interest in these beautiful tiny baskets, and we await the continuation of this tradition by young members of the VT basket making family.

Interested in Learning more about the Indigenous Art of Vermont?

Wabanaki Beadwork 1850-2000

Awards

June 9, 2023March 29, 2021 by Administrator

Lifetime Achievement Award (LAW)

The LAW award is only available after a thirty-year track record of success as an artist who willingly gives back to the community and has been a mentor to many others. This award is only available by nomination and nomination does not guarantee an award. To date, only one has been presented. The first LAW was awarded in 2014.

Past Lifetime Achievement Award Winners

Dr. Fred Wiseman – 2014

Fred Wiseman receiving the VAAA Lifetime Achievement Award with Jessee Lawyer and Melody Mackin on stage with him. At the first Vermont Abenaki Artists Association Awards ceremony at the Lake Champlain Maritime Museum, Professor Fred Wiseman was surprised during his filming of the event by being asked to come to the stage from behind the camera. Dr. Wiseman, of Swanton, Vermont, who is retiring from Johnson State College at the end of July, was surprised with a certificate of Lifetime Achievement and the VAAA T-shirt that he had been trying to buy for two days, but with no success.

The Award was presented by his mentoree and VAAA board member Jessee Lawyer of Burlington, VT, with other board members Vera Longtoe Sheehan, of Westminster, VT and Jeanne Kent of Winstead, CT, looking on. The award was not specifically for his achievement in promoting the decorative and performing arts, such as fashion design, wampum (shell bead) art, Indigenous song, dance and oratory, but in his advocacy for recognition by the state of Vermont that its indigenous peoples and their artistic heritage has always been here and needed to be recognized by the state. It was this recognition that permitted Abenaki artists, for the first time to legally sell their creations as Indian art under the Federal Indian Arts and Crafts Act.

The Board members and Dr. Wiseman shared some memories of working together as long ago as the mid-1990’s, and their continuing endeavors to assure that Vermont’s Indigenous arts heritage will never disappear. Koasek Abenaki Tribe citizen Cheryl O’Neil, who was at the ceremony, said “it was an amazing event to see Dr Wiseman with some of his oldest friends and former students sharing their joy in the fruits of his more than thirty year of supporting Abenaki culture and history. It was a well-deserved treat for all of us at the Maritime Museum.”

Artist of the Year

Beginning in 2020, as a fan-determined contest to celebrate VAAA artists and promote economic development during the holiday season, the Artist of the Year Award was started. It is also used to publicly thank artists who participated in exhibits during that calendar year. The nominees must be juried members of VAAA for at least one year. Groups are not eligible.

Past Artists of the Year

2020 Amy Hook-Therrien

Image of Amy Hook-Therrien — Amy Hook-Therrien

Amy is a native Vermonter, originally from Chelsea, she grew up nestled on top of a hill overlooking the valleys below. She was surrounded by nature and beauty. She graduated from Randolph Union High School with a passion for art. She went on to college at the University of Maine in Orono majoring in fine art with a focus in sculpture and painting. After graduating with a BFA from UMaine she moved back to Vermont and she and her husband bought a house in Windsor. When she is not creating art Amy loves to travel, hike, garden, and spend time with her family.

Artist Tutorials

July 12, 2024March 28, 2021 by Administrator

The following links for a variety of tutorials are provided to aid our artists in writing important documents such as an Artist’s Statement and an Artist’s Biography. You can also get good information on how to write a resume.

Click on the link:

Artist Statement and Bios. Maryland Institute College of Art

Writing an Effective Artist’s Statement: Some Practical Tips – Claremont Graduate University

Write Your Resume. Illinois Community College: The Career Center

Building Confidence: using your bio & artist statement to talk about your artwork

Artist Information

July 12, 2024March 28, 2021 by Administrator

This page provides links to information about joining the VAAA, such as how to apply, how VAAA artists are juried, our various levels, our awards, and professional development information.

Applying to become a VAAA Artisan or to be rejuried to a higher artisan level

Artisan Levels

Awar ds

Frequently Asked Questions

Juried Artist Benefits

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Lance Hodgdon

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki

Juried Artist since 2019

Lance Hodgdon does beautiful work with wood. He specializes in flutes, which have a rich tone that is pleasant to listen to.

He is also a fine woodworker and is chopping blocks are finely made. He does accept special orders.

Facebook Store: Wind Walker’s Native American Flutes

Image of flute with bear paw by Lance Hodgdon.

Image of chopping block in shape of state of Maine. — _{Chopping block made in the shape of the state of Maine.}

Image of chopping block made by Lance Garfield. — _{Beautiful chopping block made with a variety of wood colors.}

Melody Mackin

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Elnu Abenaki Tribe

Juried Artist since 2013

Image of Melody Walker with hand drum. — Melody Walker

Melody Mackin is an educator, mom, and artist. She works at the Atowi Project. She received her master’s degree in History from the University of Vermont in May 2011. Melody has taught at several institutions an adjunct professor, such as Northern Virginia Community College and taught the History of Western Civilization and US History.

Prior to this, she was an adjunct professor at Champlain College through the EHS Division. Before that, she was an adjunct professor at Johnson State College where she taught “Native American Worldview and Spirituality,” “Native American History and Culture,” and “Abenakis and Their Neighbors.” She gives lectures on a variety of topics, including Abenaki history, women’s issues, and Abenaki political history.

She has done ground breaking research on Abenaki Spirituality and is heavily involved in the Abenaki cultural revitalization movement. She works with museums and lectures in both the K-12 and collegiate level classroom on topics relating to the Eastern Woodlands and indigenous history.

Melody is a traditional finger weaver, photographer, ribbon work, beadworker, and interprets wampum belts.

Artist Statement

I am an Abenaki historian and I am in love with stories. The finished pieces that I create whether it is a beaded bag or a breechclout with ribbon are created with spirit. They tell my story but they also tell the story of my people. In each stitch I think about the hands that have come before me using the same techniques with the same type of materials. Most importantly, I think of the hands that will create the same artifacts in the future and honor the culture that lights the path through time that we all walk. I spend a lot of time teaching Abenaki history and culture but the artifacts that I shape are the physical manifestations of what being Abenaki means to me. They represent pride, generational love, talent, resiliency, and ultimately they tell a story of survival.

Contact Info

Image of finger woven sash by Melody Mackin. — Finger woven sash

Image of breechcloths by Melody Mackin. — Breechcloths

Image of beaded bag by Melody Makin — Beaded bag with spider & web

Weaving a thread through the 7 generations, Melody Walker, TEDx Stowe
Melody Walker gives an incredibly powerful and touching insight into rebirth of the Abenaki Elnu tribe. Finding pride in each other and hope for the future, Melody weaves a beautiful talk about finding one’s place in creation and community.

Exhibits

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

Presentations

Native History Month Program Coordinator, Champlain College, November 2016. Lectured in Native American Leadership and completed Cultural Awareness Training for Diversity Programmers
Affirming Traditions Conference Coordinator, Mt. Norris Boy Scout Reservation, October 22, 2016
Camel’s Hump Middle School Lecture/Workshop, Lake Carmi: Abenakis Throughout History and storytelling/drumming workshop over the campfire on September 24, 2016
Mount Norris Boy Scout Frontier’s Camp: Full days of arts and crafts workshops for a week long camp June-July 2016
Abenaki Heritage Weekend Lecture, Lake Champlain Maritime Museum: “Bringing History to Life” on June 27, 2015
Chittenden County School System: Personhood Lecture for educators and parents on June 24, 2015
Mount Norris Boy Scout Winter Camp: Full day of drumming workshops on March 7, 2015 for students traveling from all over New England
Encounter – Vermont Indigenous Culture for the Classroom: Full day lecture on November 9, 2014 for teachers from a variety of schools held at Endeavour School
Abenaki Heritage Weekend Presentation: “Haven Project: Seeds of Renewal,” June 28-29, 2014
Abenaki Spirituality: Class lecture at Middlebury College on January 21, 2014National Native Seeds School,MA: “Seeds of Renewal,” January 2014
Nancy Millette Doucet Memorial Lecture Series Presentations: Various full day lectures twice a semester regarding cultural revitalization topics, 2012-2014
Lead Like a Beaver Speaker Series Presentation: “A Shifting of the Glass: Indigenous Perspectives on Leadership,” December 2013
Echo Center Harvest Fest: “The House That Raven Built Storytime with Melody Brook” & “Fingerweaving with Melody Brook,” November 29, 2013
Champlain College Native American Heritage Month Presentation: “Native American Identity,” November 2013
UVM Native American Heritage Month Presentations: “Walking in Two Worlds” and “Rethinking Thanksgiving,” November 2013
UVM Continuing Education Diversity Series Presentation: “Identity in the Workplace Through an Abenaki Lens,” May 2013
UVM Abenaki Heritage Week Presentation: “Against the Darkness: Indigenous Identity Through the Ages,” April 2012
Lake Champlain Basin Program Love the Lake Series: “Abenaki Heritage Center – Haven Project,” February 2012
VASS Conference Making Sense of the World: “Haven Project: A Virtual Museum,” December 2011
Echo Center Indigenous Summit, Co-Coordinator, November 2011
Old Stone House Museum Time Traveler’s/Children’s Camp: “Abenaki History & Culture,” Summer 2009 & 2010
Lyndon State College My Story Matters Conference: “Walking in Two Worlds: The Wabanaki Experience,” Keynote speaker, April 2009
St. Michael’s College VT Quadricentennial Indigenous Conference, Co-Coordinator, May 2009

Film & Radio

Miricle, Irene, “Changeling, AKA Dawnland.” Miricle Girl Productions. 2009. DVD
Reger, Deborah. Moccasin Tracks . Recorded February 15, 2013. WGDR 91.1 FM . Web
Timrick, Ted. “Before The Lake Was Champlain.” Hidden Landscapes. 2009. DVD
Wiseman, Frederick M. Ph D. “1609: The Other Side of History.” 2009. DVD
Wertlieb,Mitch. “Interview: El-Nu citizen Melody Walker ” Recorded March 27,2009, Vermont Public Radio
“Vermont Indigenous Celebration: Abenaki Singers – Interview with Abenakis Walker & Melody Brook – Abenaki Dancers, Takara Matthews & Josh Hunt.” Recorded July, 11, 2009. Channel 17. Web

Awards

Cum Laude Honors (undergraduate)
ALANA Leadership Award (undergraduate)
2009 Ally of the Year Award from the UVM Greek Community.

Affiliations

Atowi Project
Vermont Abenaki Artists Association
Vermont Commission on Native American Affairs, Vice Chair (2010-2012 and 2016-2017)
Native American Quadricentennial Advisory Committee (2008-2009)
WAOLOWZI Minority Health and Wellness Program (2006-2009)
Vermont Women’s History Project Steering Committee (2005-2007)
Voices Against Violence (2005)

Lori Lambert, PhD, DS

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2014

Image of Dr. Lori Lambert. — Lori Lambert, PhD, DS

Lori Lambert is a scriptwriter, photographer, writer, and researcher. In her spare tine she follows her passion of beading. She has been beading for over 20 years. She learned her craft from the elders on the Flathead Indian Reservation, especially Rachel Bowers and Edna Finley, and from the great granddaughter of Wooden Legs, a Cheyenne Warrior.

She believes that anyone can learn to bead and that anything can be beaded. It takes patience, and a good sense of what the colors can express. She says, “It is important to have a peaceful heart and calm mind otherwise the work will have bad karma.” At Salish Kootenai College, where she is a professor and the Head of the Native American Studies Department, she has taught students to bead stethoscopes, medallions, dance dresses, and even moccasins. In addition to beading, Lori loves doing research, writing, traveling, and hosting television programs for KSKC-TV. She lives on the Flathead Indian Reservation in western Montana with her husband, Dr. Frank Tyro and their band of sled dogs.

Artist Statement

Although I enjoyed drawing and writing since I was a child, I never thought of myself as an artist. To me artists were musicians, painters, dancers and their work was shown in museums or theaters. After I married my husband Frank, I paid more attention to Native cultural arts and took courses in reservation arts at Salish Kootenai College, where I teach. Many of my friends are amazing bead workers and I continually aspire to their level of perfection.

I have written and published six books. They are all on amazon.com. My latest book is entitled “Research for Indigenous Survival: Indigenous research methodologies in the behavioral sciences.

My husband Frank is filmmaker and broadcast engineer. As the scriptwriter, we have collaborated on several projects all of which won various awards from “Best Documentary Short” “Aurora” “Aurora Platinum.”

Over the years I have learned that art is writing, bead working, powwow dancing, and script writing and doesn’t necessarily have to be shown in a museum or a theater.

My most recent book, Children of the Stars: Indigenous Science Education in a Reservation Classroom was written in coordination with Ed Galindo. It is the story of students and a teacher, courage and hope. Written in a conversational style, it’s an accessible story about students who were supported and educated in culturally relevant ways and so overcame the limitations of an underfunded reservation school to reach great heights.

Contact

Image of beaded keychains by Lori Lambert. — ^{_{Beaded keychains}}

Image of beadwork by Dr. Lori Lambert. — _Beadwork

Image of detailed beading on dress by Dr. Lori Lambert — _{Detailed beadwork on dress}

Image of hand-sewn and beaded dress by Dr. Lori Lambert. — _{^{Hand sewn and beaded dress}}

Image of book cover for Research for Indigenous Survival by Dr. Lori Lambert. — _{^{Available for purchase on Amazon}}

Book cover for Children of the Stars. — _{Available for purchase on Amazon}

Exhibits

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2014

All of my Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH
Western Montana Fair: Blue Ribbon for Katiya’s beaded harness
Art show at the Sand piper Art Gallery in Polson Montana
Salish Kootenai College Art exhibit/ Faculty Art exhibit

Selected Publications

Lambert, L. (2014). Research for Indigenous survival: Indigenous research methodologies in the behavioral sciences. Pablo: Salish /Kootenai Press
Lambert, L. (2011). Two-Eyed Seeing: Indigenous Methodologies in Psychology. Paper accepted: International Congress for Qualitative Research
Lambert, L. (2011). Two-Eyed Seeing: Indigenous Methodologies in Psychology. Paper presented for the Eberhard Wenzel Oration. Australian Health Promotion Association Conference, Cairns, Qld, Australia
Lambert, L. (2011). Historical Trauma and Environmental Degradation as Health Disparities for Indigenous People. Keynote paper presented Health Promotion Association of Australia, Cairns, Australia
Lambert, L. & Toby, R. (2009). Gungalu Warrior Dreaming: The biography of Robert Toby senior. Rockhampton, Queensland, Australia (Unpublished Manuscript at the Request of the Family)
Lambert, L (2008). In Our Own Voice: 12 Narratives focusing on culture and health for Grades 8-12. Seattle, WA: University of Washington
Lambert, L.,Wenzel, E. (2007). Issues in Indigenous Health in Critical Issues in Public Health. Ronald Labonte and Judith Greene (Eds). Routledge
Lambert, L. (2005). Paper presented at the Canadian Aboriginal Science and Technology Conference, Cape Breton, Canada: Distance Education Providing College Courses for Remote Aboriginal students
Lambert, L (2005).Cheyenne Daughter. Bloomington, IL: Authorhouse
Lambert, L & Walsh, C. (2002). Heart of the Salmon, Spirit of the People: Ethnicity, Pollution, and Culture Loss. Bloomington: Author House
Lambert, L.A. (2001). International Union for Health Promotion and Education Journal: Promotion and Education. Vol. viii/2-4. American Indian Partnerships: Historical and contemporary
Lambert, L. (2000). Keepers of the Central fire: Issues in Ecology for Indigenous Peoples. New York: National League of Nursing Press
Lambert, L. (1996). Through the Northern Looking Glass: Breast Cancer Stories told by Northern Native Women. New York: National League of Nursing Press

Awards & Honors (select list)

2014: Conference Chair: American Indigenous Research Association Conference

2013: Conference Chair: American Indigenous Research Association Conference

2013:

Founder and member: American Indigenous Research Association
Member: Indigenous Studies Research Network. Queensland University of Technology, Brisbane, Queensland
Tapestry Institute, Longmont, CO: Board President

2013: The International Women’s Leadership Association: Woman of Outstanding Leadership.

2012: American Indian College Fund Faculty of the Year for Salish Kootenai College

2011: American Indian College Fund Andrew W. Mellon Foundation Fellowship Award for Faculty Research

2009 Award: Outstanding Contribution to Distance Learning and Adult Education. The North Carolina State University

2009 Fulbright Scholar: China (6 weeks)

2005: Aurora Award- Platinum Best of Show Cultural Documentary: Lambert, L. & Tyro, F. (2003) Sacred Salmon. Documentary Produced by Salish Kootenai College Media Productions. Frank Tyro, Director, Lori Lambert, Script Writer.2003: Faculty Fellowship Award: United States Department of Agriculture, Foreign Agriculture Service 2002: Faculty Development Award: Center for Theology and the Natural Sciences

2002: Faculty Development Award: Canadian Embassy

2001: Sloan –C National Award for “Excellence in Asynchronous Teaching”

2001: Nominated for Outstanding Employee of the Year: Salish Kootenai College

1999: Course Award: Center for Theology and the Natural Science, Berkeley, Calif.: Science and Religion : Environmental Science and Indigenous Religions.1995 American Society for Canadian Studies in the United States: Nominated for the Distinguished Dissertation Award

1996: Canadian Embassy Research Grant

1995 The Union Institute: Nominated for the Sussman Award for Distinguished

Dissertation

1994: Canadian Embassy Graduate Student Fellowship

1988: The Schuylkill Center for Environmental Education, Philadelphia, PA: Board Award.

1982: Montgomery County Community College, Blue Bell, PA: Outstanding Graduate Award.

1980: Temple University, Philadelphia, PA: Outstanding Graduate Award 1980

1979: Gladys Pearlstein Humanitarian Award: Montgomery County Community College, Blue Bell, PA

Affiliations

Vermont Abenaki Artists Association

Linda Longtoe Sheehan

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Elnu Abenaki Tribe

Juried Artist since 2013

Image of Linda Longtoe Sheehan. — Linda Longtoe Sheehan

Linda Longtoe Sheehan’s specialty is wampum. She is known affectionately as “Wampum Woman.” She started making wampum belts over thirty years ago and passed her knowledge onto countless young people.

Linda makes wampum belts and jewelry from glass beads, mother of pearl and quahog. Her beadmaking starts with a quahog shell. She cuts it to size and shapes it. Then she weaves her wampum belts using braintanned leather.

Linda learned brain tanning from Mark Humpel, who hosts an annual braintanning weekend. Unfortunately, due to a disability she can no longer make braintan leather herself so she is passing this tradition on to students. In the winter months, Linda teaches them how to scrape the deer hides; soak them in the braintan solution; stretch and dry the hides; and work them until they are soft. Then she cuts it into long strips. Each hide takes about 50 hours.

She has done demonstrations at museums and historic sites throughout the Northeast and Mid-Atlantic States. Her work was even requested by the Presidents protocol office.

Artist Statement

I have been designing and making wampum belts, wrist bands, necklaces, bracelets and earrings for over 30 years;. I work with real Quahog, glass and mother of pearl wampum beads. My work has been on display at the Institute for American Indian studies and at Johnson Hall (historic site).

During the winter months, I also make my own brain tan leather which I use for to weave my belts.

Although I specialize in wampum, I also do Traditional finger weaving, eastern center seam moccasins, Quillwork and I twine.

Contact

Address: RR 30 Box 261

Website: Back To The Moose Robe

Image of wampum seen at the Lake Champlain Maritime Museum. — Wampum

Image of wampum earrings made by Linda Longtoe Sheehan. — Wampum

Image of wampum bracelet made by Linda Longtoe Sheehan. — Wampum bracelet

Image of eagle wampum belt. — Eagle Wampum Belt

Exhibits (select list)

2009 to present

Contact of Cultures, Lake Champlain Maritime Museum, Vergennes, VT

2017-2018

Alnobak: Wearing Our Heritage (traveling exhibit). Vermont Abenaki Artists Association and Lake Champlain Maritime Museum.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All My Relations: Faces and Efficacies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH

2013

Featured Artist, Institute for American Indian Studies, Washington, CT
Demonstrator. Ft. at # 4, Charleston, NH

Presentations & Demos (select list)

2013

Demonstrator. Ft. at # 4, Charleston, NH
Annual Native American Weekend, Lake Champlain Maritime Museum, Vergennes,VT
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT

2012

Annual Native American Weekend, Lake Champlain Maritime Museum, Vergennes, VT
Demonstrator. Ft. at # 4, Charleston, NH
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT

2011

Annual Native American Weekend, Lake Champlain Maritime Museum, Vergennes, VT
Speaking To The Ancestors Abenaki Gathering, ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT
Demonstrator. Native American Month Presenter. University of Vermont, Burlington, VT

2010

Annual Native American Weekend, Lake Champlain Maritime Museum, Vergennes, VT
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT

2009

Vermont Indigenous Celebration. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT

2008

Annual Native American Weekend, Lake Champlain Maritime Museum, Vergennes, VT
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT

2007

Annual Native American Weekend, Lake Champlain Maritime Museum, Vergennes, VT
Abenaki Encampment, “Jamaica Old Home Days,” Salmon Hole, Jamaica, VT

Film & Radio

Reger, Deborah. Moccasin Tracks . Recorded . WGDR 91.1 FM
Schulmeisters, Lina L. “Artisan Spotlight: Linda Longtoe.” Askawobi Productions, 2012

Affiliations

Woodland Confederacy

Vermont Abenaki Artists Association

Lina Longtoe

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the ELNU ABENAKI TRIBE

Juried Artist since 2013

Lina Longtoe grew up in a family of artists and was exposed to multiple traditional and contemporary artistic disciplines. As a teenager, she realized so much culture was being lost with the passing of each Elder and sought to record history and traditions from older culture bearers. She began interviewing Elders, Chiefs, and artists.

Her first documentary “Speaking to the Ancestors” was screened at the Vermont Indigenous Celebration in 2009. The documentary chronicled the growing cycle, history of and usages of traditional tobacco.

Following the success of her first documentary, Lina created a short film series, which is on permanent exhibit at the Lake Champlain Maritime Museum. She has expanded her cultural documentation to the digital photography median as well. Lina’s films & photography have been exhibited in the Mid-Atlantic, New England states, and Canada. Lina also finger-weaves and twines.

Artist Statement

Through film, Lina Longtoe seeks to educate both Native and non-Native people alike through innovative shorts and featured length documentaries. Lina has served as the Elnu Abenaki Tribal Documentarian since she was a teenager.

Much of the Abenaki culture and it’s vast traditions are endangered with the passing of each Elder. Lina strives to record our history at every opportunity.

Her Artisan Spotlight Series and Abenaki Short Film Series are on permanent exhibit at the Lake Champlain Maritime Museum, located in Vergennes, VT. They have also screened at the American Museum of Natural History, Chimney Point State Historic Site, The Fort at No. 4, ECHO Lake Aquarium and Science Center and other sites across New England and Canada.

Lina is inspired by her grandfather who is a Culture Bearer of generations who were raised to hide and be ashamed of their heritage. She realized the ongoing threat to the continuity of knowledge about their people, crafts, and oral traditions and decided to help preserve her culture.

Contact

Email: [email protected]

Website: Askawobi Productions

YouTube: Lina Longtoe Channel

Facebook: facebook.com/askawobi

Twitter:twitter.com/askawobi

Image of movie poster called The Other Harvest.

On Going Exhibits

2011 – present. Contact of Cultures, “Abenaki Short Film Series” Lake Champlain Maritime Museum, Vergennes, VT

2014 – present. Northeast Woodland Fiber Arts, Mt Kearsage Indian Museum, Warner, NH

Limited Engagement Exhibits

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

Along the River, Mt. Kearsarge Indian Museum, Warner, NH
Giona Sezoha G’dakinna: We Paint Our Land, Mt. Kearsarge Indian Museum, Warner, NH
Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All My Relations: Faces and Effigies from the Native World – – Invitational Group Art Exhibit, Mt. Kearsarge Indian Museum, Warner, NH

2013

Featured Artist at the Nor’Westers and Loyalist Museum, Ontairo, Canada
Indigenous Fibert Art, MacDonell-Williamson House, Ontairo, Canada
Containers. Mt. Kearsarge Indian Museum, Warner, NH

Film Screenings and Presentations

2009 – present

Abenaki Short Film Series. American Museum of Natural History, NYC, NY

2016

Abenaki Cultural Weekend. Fort Necessity National Battlefield, Farmington, PA.

2012

Presenter, Lake Champlain Maritime Museum, Vergennes, VT
“Meet the Artist” and film screening, Boston Children’s Museum, Boston, MA

2011

Presenter, Lake Champlain Maritime Museum, Vergennes, VT

2010
Presenter, Lake Champlain Maritime Museum, Vergennes, VT

2009

Film Screening. “Vermont Indigenous Celebration,” ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

In Permanent Collections

“Abenaki Short Film Series,” Lake Champlain Maritime Museum, Vergennes, VT
Fiber Art Photo Collection,” Mt. Kearsarge Indian Museum, Warner, NH
Twined Weaving Photo,” MacDonell-Williamson House, Ontario, Canada

Affiliations

Vermont Abenaki Artists Association

Kerry R. Wood

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2016

Kerry Wood processing splint for basketmaking. — Kerry Wood processing splint for use in basketmaking.

Kerry Wood/Kalli Abazi is a citizen of the Nulhegan Band of the Coosuk Abenaki Nation. In 2016 she completed a 3 year apprenticeship program with Jeanne Brink through the Vermont Folklife Center Traditional Arts Apprenticeship Program for making traditional Black Ash and Sweetgrass baskets.

Elvine Obomsawin, Kerry’s Great-Grandmother, and her family made and sold baskets to tourists in Vermont in the early to mid-1900’s. Jeanne Brink is also Kerry’s cousin, and hearing the stories from their Obomsawin family heritage while learning basket making brought her past alive! When she is making baskets, she feels a deep connection with those who have gone before her, and is at peace and connected. Her husband helps prepare the ash by harvesting the ash trees and, with their son Aaron, pounds and splits the ash. The family works together to create the materials for baskets from the harvest of the tree to the final project.

Kerry has baskets on display at the Vermont Maritime Museum, The Abenaki display at the Burlington Airport, and at the Bennington Museum. Black Ash and baskets remain a critical aspect of Abenaki culture and heritage. They are part of Ndakinna, our land. Kerry teaches Abenaki people and others the history and craft of Abaznodaka as well as the language of the Abenaki people, Alnôbaôdwa, so the culture and heritage will continue. She is also collaborating with people across Vermont to help combat the impact of the Emerald Ash Borer, which threatens the very existence of the Black Ash trees. Basket making is part of the Abenaki soul and heritage, and it is critical to ensure it is never lost.

Contact

Image of ash and sweetgrass basket. — Ash and sweetgrass basket

Image of ash basket by Kerry R. Wood. — Ash Basket

Demonstrations (as an Apprentice with Master Basketmaker Jeanne Brink)

2016

Dartmouth Powwow, Dartmouth College
Native American Program, Dartmouth College
Vermont History Exposition, Tunbridge, VT

2015

Abenaki History Day, Hartford, VT
Dartmouth Powwow, Dartmouth College, NH
Native American Program, Dartmouth College, NH
Saratoga Native American Festival, Saratoga, NY

2014

Dartmouth Powwow, Dartmouth College, NH
Native American Program, Dartmouth College, NH
Vermont History Exposition, Tunbridge, VT

Awards

2013, 2014, 2015

Traditional Arts Apprenticeship Program, Vermont Folk Life Center. Middlebury, VT

Affiliations

Vermont Abenaki Artists Association

June Roberts Wesley

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist

Image of June Roberts Wesley. — June Roberts Wesley

June Roberts Wesley, like many artisans before her, had an affinity for drawing and painting. No surprise her favorite class in school was Art Class! She had an eclectic interest in many mediums, including silversmithing and painting. During her high school tenure she began to explore more traditional Native art forms and bought her first beading loom.

She attended her first pow wow at Dartmouth college and was enthralled with a whole new world opening up for her. She was fortunate to have her early work on display at an All Native art show for high school students and one of her drawings was chosen to be the graphics on the pow wow poster for the Dartmouth event.

June has settled into the sewing and designing of dance outfits using applique as her “paint”, creating colorful contemporary powwow dance clothes for dancers all over the US and Canada, including a former Miss Indian World. She also enjoys beading and sequin work. She is currently working on a traditional fully beaded top for a client as well as other custom orders. She is also helping to make a traditional Apache dress for a young lady’s Sunrise Ceremony, a coming of age celebration for Apache girls as they come into womanhood.

June lives in Arizona with her husband Fred in the beautiful Apache homeland enjoys the always dramatic surroundings in the Southwest desert.

Artist Statement

I have always been drawn to color and being able to design and sew powwow dance outfits or bead items for a living is pretty extraordinary! My mom always encouraged me, even allowing me to paint murals all over my bedroom. ..how cool is that for a little girl? Get me in a fabric store or bead shop and I just get excited at the possibilities…..

I am so grateful to those who enjoy my work and to those who encouraged me through the years, especially my friend Amisa Yellowbird who spent countless hours with me, teaching me new techniques and brainstorming ideas.

Contact

www.facebook.com/manitouabe8ichart

Image of child's regalia by June Roberts Wesley. — _{Child’s regalia}

Image of detail on skirt by June Roberts Wesley. — _{Detail on wrap skirt}

Image of detail of First Nations Women Warriors Dresses by June Roberts Wesley. — _{Detail of First Nations Women Warriors Dresses}

Image of regalia by June Roberts Wesley. — _Regalia

Jon Manitouabe8ich

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2015

Jon Manitouabe8ich is a well-known graphic artist and musician with a heart for serving the Native community. His creative and unique style of art is sought by many businesses and organizations for designing logos and advertising for marketing campaigns. As a musician, he and his band create a variety of music in many different languages – an artistic approach that causes his music to be appealing to a wide range of interests.

Jon is now working on refining his skills in jewelry-making as well as crafting other types of Native American items. His strong desire to hold to the customs of his family is evident by all he does.

Jon Manitouabe8ich is also a writer. With six books published at Éditions Kizos, the writing work has taken up much of his interest and time. Literary essay, initiatory novel, tales, the collection grows from year to year. You can find the links on his Facebook page.

Artist Statement

I’ve been creating art since I was born. My parents taught me the basic techniques and I quickly develop my own work methods. I studied graphic design in which I hold a diploma. Since then I make my living in art.

In addition to this work, I also create music. In 2007, I founded the music band called Black Lizards. I have a recording studio so I can create music with other amazing artist. In this circle everyone is equal and I refused to take center stage. My vision is that each one of us is a part of a circle and nothing is possible without each other. Our music has no particular style. The songs are written in different languages so that everyone feels comfortable. Since the beginning of the adventure with the Black Lizards, I had the chance to invite several artists to participate to share the same vision of Love, Compassion and Gratitude.

The earth is loaned to us and we need to improve it as a legacy to our children. It is only trough the transmission of values such as respect for others that we will find balance in this world so that we may live in harmony. These values that we teach others must come from within ourselves.

Image of graphic design poster by Jon Manitouabe8ich.

Red Urban Project logo

Books

Contact

Email: [email protected]

Website: www.soundcloud.com/black-lizards

Facebook: www.facebook.com/blacklizardsofficial

John Hunt

March 4, 2024March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2016

John Hunt grew up in the farm country of Vermont. When he was young, his father would tell him about his native heritage and about how their ancestors had lived. John enjoyed imaging how it was long, long ago as well as how his grandfathers lived more recently. He saw how life used to be made up of your own two hands. Whether it was tools needed for farming or hunting or things you would need around the house like bowls and baskets it all had to be made by someone’s skilled hands.

This inspired John to have a relationship to life like his family had always had. To know how to make what he needed from the land around him. When he looked back at many of the tools of our ancestors, he saw they were created not only to be functional but beautiful as well. He was inspired by that way of being and has chosen to live his life in that way. Though he has tried and practiced many art forms, he has focused most on carving, basketry, and pyrography.

ARTIST STATEMENT

I have been creating art since I was a child, but since the age of 18, it has become a very strong focus in my life. Though I have never had one primary teacher, I have learned through many people over the years as well as through my own personal practice.

Carving: For my carving, I use many types of wood. For kitchen utensils, I like to use a hardwood like black walnut,

Image of gourd bowls with corn. — _{Picture courtesy of Diane Stevens. Gourd bowls with corn.}

black cherry, apple, maple, etc. and for more figure/ sculpture carving I use soft woods like white pine or cedar.

Basketmaking: My family members were basket makers that sold their wares around northern VT. However, there is no longer anyone in my direct family practicing this art, so I have sought out many different teachers over the years. Though I haven’t formally studied with anyone, I have spent time with many different basket makers around Vermont. I primarily make bark and willow baskets. For the willow, I gather from a few locations by my home that grows nice long rods, and I tend these patches. For my bark baskets, I prefer pine, and I keep my eye out for trees that have fallen over during the winter and peel their bark in the spring.

To create my art, I use modern hand tools. However, I gather all of my materials from the natural world. My art is an expressive outlet for me and a connection to my ancestors. I really enjoy making things that have a function as a spoon but going beyond function and giving it a unique beauty. I find inspiration for my crafts in nature around me. I try to have my crafts showcase and lead to the innate majesty of the plants, animals, and elements.

Pyrography: Over the last several years, I have studied traditional Wabanaki designs and the images I see in nature. From these studies, I create my designs. I grow the gourds that I use and gather soft woods for my pyrography.

Image of spruce and bark baskets. — _{Spruce and bark baskets. Picture courtesy of Diane Stevens.}

Image of cranberry and skunk bean necklace — _{Handmade true Vermont cranberry and skunk bean necklace. Picture courtesy of Diane Stevens.}

Image of handmade wooden spoons. — _{Handmade wooden spoons. Picture courtesy of Diane Stevens.}

Contact Info

MUSEUMS AND EXHIBITS

Currently
Part of the permanent collection of Abenaki Cultural items at the Burlington International Airport, Vermont.

2017
Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum

AFFILIATIONS

Vermont Abenaki Artists Association

Jim Taylor

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the ELNU ABENAKI TRIBE

Juried Artist since 2013

Image of Jim Taylor. — _{Jim Taylor – Photo courtesy of Adam Sings in the Timber}

I am a Tribal Councilman and citizen of the Elnu Abenaki Tribe of Southern Vermont which recently was granted State Recognition after years of battling with both the State & Federal Governments. I also descend from the Eastern Cherokee my Fathers people who reside in Kentucky.

Artist, Eastern Quillworker, & Wampum, I have been involved with various art forms since I was a small child, with the help from my recently deceased maternal Aunt she fostered the talent the Creator blessed us both with.

I am currently employed as a Graphic Designer designing Police, Fire, Federal, & International Law Enforcement badges; for past 28 years.

I currently reside in Rhode Island with my wife Claudine and two daughters, Ashley age 22 and Jillian age 16 along with our Golden Retriever Abby. My Tribal duties in Vermont do take me away from home many weekends throughout the year which my wife is very understanding. The many reasons are is it’s what’s needed to build a better future for the next 7 generations of my people; I thank her and my 2 girls for their patience and understanding.

I have been doing Eastern style quillwork for the past 26 years along with other various native related beadwork and crafts and most recently learning how to create wampum beads from quahog & whelk shells. My quill work began when I became more involved with Living History/ Native Interpreting at French & Indian Living History events. The Abenaki played an important role as Allies with the French during that period. As I became more proficient, my quillwork became more sought after by other Living History people as well as other Native people.

My quillwork has been featured in numerous articles and magazines & books; also my work has been displayed in the Mingei International Museum of Folk Art in San Diego, CA, and currently I have an Underwater Panther bag on permanent display in the American Museum of Natural History in New York City, NY. My work has also have been in various local Art shows in RI as well.

I hope to continue doing quill work and to become more proficient in the wampum bead work as well, my hope is to pass this onto future generations of youth within my tribe along with possibly getting future grants to allow me to travel west to Washington State to share how to do quillwork and wampum making with Native Artists in the Communities there with the hope of learning some of their traditional crafts like Cedar Hat making and Cedar carving to share with my tribe Elnu and others here on the East Coast.

Future work:

I am currently trying to organize a Multi-Eastern Tribal Canoe Journey on the Connecticut River beginning at its head waters in Canada to where it spills out into Long Island Sound. This Journey will be mirrored to the same one held annually out west in Washington by the Salish Coastal peoples. My hope is that this will be a Journey to inspire our youth to make them stronger physically, mentally as well as spiritually; this will be a journey for ALL ages. We along with others here in New England hope to have a smaller version to start with by sometime next year; I urge all eastern peoples / Tribes to contact us if they are interested in being part of this hopefully Annual event. We can be reached via Facebook at Kwinitekw Canoe Journey https://www.facebook.com/groups/248209231873305/ or my Email at [email protected]

Contact

Website: Quillwork by Swift Fox

Image of quillwork detail on bag by Jim Taylor. — _{Detailed quillwork on bag}

Image of carved bone combs made by Jim Taylor. — _{Carved bone combs}

Image of quilled knife sheath and bag. — _{Quilled knife sheath and bag}

Image of wampum pendant. — _{Wampum Pendant}

Exhibits

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

First Light: Native American Artists from New England, The Flanagan Campus Art Gallery, RI
Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All My Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH

2013

Like Breathing: Native American Beading and Quillwork. Mt. Kearsarge Indian Museum, Warner, NH

2012

Quilled Underwater Panther Bag. American Museum of Natural History, NYC, NY

2000

Arrow of the Spirit. Mingei International Museum, San Diego, CA

Publications

Jones, Paul R. “Quillworkers 2: The Tradition Continues.” Muzzleloader, Nov/Dec 1999, 40
Dubin, Lois Sherr. North American Indian Jewelry and Adornment: From Prehistory to Present Concise Edition, Harry N Abrams Incorporated, NYC, NY. 2003. 71

Affiliations

Vermont Abenaki Artists Association
Woodland Confederacy

Jessee Lawyer

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Abenaki Nation of Missisquoi

Juried Artist since 2014

Jessee Lawyer is an enrolled citizen of the Abenaki Nation of Missisquoi. He i the head chef at Sweetwaters in Burlington and caters special events. As a culinary artist he creates indigenous specialties using Wabanaki ingredients.

Jesse descends from a long line of Indigenous artists. He continues his family tradition as one of the last two Native families in the Northeast who continue to make miniature horsetail coiled baskets. Jessee also hand carves traditional soapstone pipes and contemporary soapstone sculptures. He draws great inspiration from his father who taught him how to carve. As he continues to polish his skills, he is being mentored by two VAAA artists.

Artist Statement

As a child, I spent many nights watching my father create art. He worked in many mediums; he was well known for his moccasins and homes that he built. His attention to detail captivated and inspired me. Hand carved feathers and chip carving around doors and windows, decorative stitching graced his moccasins, and subtle lines touched his pipes. He would tell me stories of my grandfather who made miniature horsehair baskets, woodcarvings and would cast miniature animals out of bronze. I absorbed as much knowledge and wisdom as I could from my father and cannot thank him enough for preparing me with the skills and love needed to continue our Abenaki traditions before he passed on to the spirit world.

I have only recently started carrying on my family traditions as well as creating my own style. I try to experiment with many mediums but am focusing on horsehair baskets and soapstone pipes and sculptures for the moment, with moccasins shortly. I feel a deep connection to both the plant and animal worlds, and try to incorporate them as much as possible in my art, honoring all they provide for us.

With the knowledge that has been passed to me from previous generations, I have been blessed with the gift of a child on the way. Now there is another generation to carry on our cultural traditions, and another art form for me all-together.

Contact

Image of Cranberry and maple cured duck breast, wild rice, Vermont cranberry bran & butternut ragout, boiled cornbread, and house blueberry and vinegar reduction. — _{Cranberry and maple cured duck breast, wild rice, Vermont cranberry bran & butternut ragout, boiled cornbread, and house blueberry and vinegar reduction}

Image of Jacobs cattle beans, cured duck breast ham, and maple syrup baked in Blue Hubbard Squash. — _{Jacobs cattle beans, cured duck breast ham, and maple syrup baked in Blue Hubbard Squash}

Image of Salt and smoked maple glazed bear jerky. — _{Salt and smoked maple glazed bear jerky}

Exhibits

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

Eastern Woodland Fiber Arts (permanent exhibit), Mt. Kearsage Indian Museum, Warner, NH
“Traditional Sources, Contemporary Visions” – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All of my Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, N.H.

Affiliations

Vermont Abenaki Artists Association, Committee Member since 2013

Jeanne Morningstar Kent

October 5, 2024March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Master Culture Bearer (MCB) – Juried Artist since 2013

Image of Jeanne Morningstar Kent. — Jeanne Morningstar Kent

Jeanne Kent was named Spozowialakws (Morningstar) by an Abenaki Elder many years ago. It means: “One who leads others out of the darkness into the light…a teacher.”

She is an enrolled citizen of the Nulhegan Band of the Coosuk Abenaki Nation of Vermont, and also descended from Nipissing, Montagnais, and Algonquin People from the Quebec area of Canada. Her father was French and Indian; her mother was German. Her art work contains Native American symbols and designs of the Northeast Woodland People with a focus on the Wabanaki group. Her medium is gourd art. Currently, she is working on a series of gourd designs which she hopes will provide a visual language for the woodland people.

In 2024, Jeanne was raised to the artisan level of Master Culture Bearer (MCB). To learn more about this prestigious designation, please click here.

“There is something wonderful about putting one’s hands into the soil to plant the seed, nurturing it until the blossoms form, then protecting them until they develop into natural canvases upon which to work my art, ” she said. “Working with gourds is a combination of my art and heritage bound together in a spiritual journey with Mother Earth.”

She has received both state and national awards and participated in one man shows, and group shows through out CT, NY, NH, and MA. Her work has sold internationally via her website. She holds a Bachelor of Fine Arts Degree and a Master in Art Education from the University of Hartford. Additional courses were taken at Johnson College, VT; Smith College, MA; Trinity College and Yale Campuses, CT, and the Woodstock School of Art, NY. She taught art in public schools for twenty years transversing levels from kindergarten to college. As teacher and artist, she has given in-services on Native crafts and history, to educators, acted as a mentor for student teachers, and offered courses at the University of Hartford Extension Service.

Morningstar serves as an interpreter at the Institute for American Indian Studies, Washington, CT, where she has also lectured and given workshops. One of her gourd rattles is part of their permanent collection. Other permanent collections containing her work are the Chimney Point Museum (VT) and the Roger Williams University (RI). Many pieces are in private collections.

“I have been drawing since I could hold a pencil,” she said. “Once I made a mark, I never stopped experimenting.”

Her work has been shown at the Millbrook Gallery and Sculpture Garden (NH), the Artworks Gallery, (CT), McDaniels-Wiley Gallery, (CT), the Gallows Book Store and Gallery at Trinity College(CT) and the Bushnell Theater Gallery (CT). She was invited to participate in an invitational group show in Boxboro (MA) at the New England Native American Institute which hosted the show: “Walking Between Two Worlds.” She currently shows her work at the Autumn Light Gallery in Avon, CT.

She recently offered lectures and workshops at the Institute for Native American Studies, the Mashantucket Pequot Museum, the University of Connecticut, the Naugatuck Community College, the ECHO Maritime Museum (VT) and numerous social groups.

Affiliations include the Institute for American Indian Studies, (CT), the American Gourd Society, the Northwest Connecticut Arts Council, and the Connecticut Commission on the Arts and the French Genealogy Library (CT).

“Although I am continuously walking between two worlds, I consider myself fortunate for having found a balance between my ancestral cultures.”

— Spozowialakws (Morningstar)

Image of gourd artwork by Jeanne Morningstar Kent — _{Gourd artwork}

Gourd rattle with double curve designs. — _{Gourd rattle}

Image of gourd with double curve design and butterfly. — Gourd with double curve design and butterfly

Contact

Website: Fine Wabanaki Art by Morningstar

MUSEUMS AND PERMANENT COLLECTIONS

The artist is a recognized Abenaki Artist and enrolled Member of the Nulhegan Band of the Coosuk Abenaki Nation of Vermont with work housed in the following permanent collections:

Smithsonian’s National Museum of American Indian Studies, imagiNATIONS Activity Center, New York, New York
Lake Champlain Maritime Museum, Vergennes, VT
Mount Kearsarge Indian Museum, Warner, NH, Permanent Collection
Institute for American Indian Studies Permanent Collection, Washington, CT
Roger Williams University, Bristol, Rhode Island
Chimney Point Museum, Addison, VT, Permanent Collection
Part of the permanent collection of Abenaki Cultural items at the Burlington International Airport, Vermont.

Exhibits, Lectures and Demonstrations

2021

“Abenaki People Emerging From the Ashes”, show and sale, Villages Gallery, Contoocook, NH
Group Show, Bennington Museum, Bennington, VT
On line presentation on The Visual Language of Wabanaki Art for the Institute for American Indian Studies
Video Interview by Museum of American Indian Studies. 2021-Installed as Member of the Board of Trustees at the Institute for American Indian Studies
Installed as Member of the Board of Trustees at the Institute for American Indian Studies

2020

Featured on Mt. Kearsarge Indian museum Blog “Being Native is Both Inborn and a Way of Life”

2019

Group show office of Bernie Sanders, Washington, DC
Selected by Institute of American Indian Studies to have painted portrait added to their Hall of Elders
Spring and Winter Shows at the Whiting Mills Studios, Winsted, CT
Board Member of the Vermont Abenaki Artists Association

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

“Traditional Sources, Contemporary Visions” – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All of my Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, N.H.

2013

Containers. Mt. Kearsarge Indian Museum, Warner, NH
Reading Native Art. Mt. Kearsarge Indian Museum, Warner, NH
Artist. Autumn Light Studios And Gallery, CT
New England Now!: Celebrating six years of NEFA’s Native Arts
Program. Mashantucket Pequot Museum, Mashantucket, CT
Presenter. Stamford Museum & Nature Center, Stamford, CT
Native Interpreter. Institute for American Indian Studies, Washington. CT
Panelist. “Quarterly Conversation.” Mashantucket Pequot Museum, Mashantucket, CT

2012

Native Interpreter. Institute for American Indian Studies, Washington. CT

2011

Native Interpreter. Institute for American Indian Studies, Washington. CT

2010

Featured Artist. Institute for American Indian Studies, Washington, CT
Artist. Northwest Arts Council, Studio Tours, CT
Native Interpreter. Institute for American Indian Studies, Washington. CT

2009

Native Interpreter. Institute for American Indian Studies, Washington. CT
Gourds: Seeds of Inspiration. Vermont Indigenous Celebration, Burlington, VT

EARLIER Group Shows

Millbrook Gallery and Sculpture Garden, NH Group Show, Artworks Gallery, CT Group Show, Arlene
McDaniels Gallery, CT
Bushnell Theater Gallery, CT
Gallows Book Store and Gallery at Trinity College, CT
“Walking Between Two Worlds”, Boxboro, MA, hosted by the New England Native American Institute – Shown at Autumn Light Gallery, CT
NW Arts Council, Studio Tour, Winsted, CT ArtZest, Litchfield, CT

Other Accomplishments

Vendor: Wabanaki Confederacy Conference, Shelbourne, VT
2015 Recipient of NEFA Grant for work on book, The Visual Language of Wabanaki Art
Classroom Art Instructor, Hartford School System, Pre-K-8 University of Hartford Extension Courses, Hartford, CT
H.O.T. (Higher Order of Thinking) School Consortium, UConn, Campus UConn Workshop, Main Campus
Torrington Adult Education, Torrington High school, Torrington,
Workshops and talks at Institute for American Indian Studies, Master Teacher-Supervising Student Teachers
Master Teacher- Supervising High school Students in Community Service
Presenter at the 46th Algonquian Conference, Mohegan Sun,
Presenter: ECHO Museum, Burlington, VT
Presenter: Mashantucket Pequot Museum, Ledyard, CT
Presenter: Ward Hertmann House Museum, Savin Rock, West Haven,
CT Village Docent, Institute for American Indian Studies, Washington
Open Your Eyes, Studio Tour, Litchfield, CT

EDUCATION

Presenter at the Mashantucket Pequot Museum, Ledyard, CT. University of Hartford, West Hartford, CT B.F.A. and M.A., Ed.
Additional Coursework: Johnson State College, VT
Smith College, Amherst, MA
Northwest Community College, Winsted, CT
Woodstock School of Art, Woodstock, NY
School of Fine Arts and Theater, NY, NY

Article: Indigenous Arts, Cultural Survival Quarterly

CRAFTS

Chimney Point Museum, VT
ECHO Lake Aquarium and Science Center , Burlington, VT
Lake Champlain Maritime Museum Show
VT Indigenous Celebration, Burlington, VT
Hammonassett Indian Festivals

AWARDS

2O12 Native Arts Grant. New England Foundation for the Arts.

PUBLICATIONS

Author of “The Visual Language of Wabanaki Arts”, published by History/Acadia Press, which discusses history and meanings of some of the designs used by the Wabanaki people.
Kent, Jeanne. Gourds: Seeds of Inspiration, Jeanne Kent publication, Winsted, CT (out of print)
Lavin, Lucienne, Connecticut’s Indigenous Peoples: What Archaeology, History, and Oral Traditions Teach Us About Their Communities and Cultures. Yale University Press, New Haven, CT. 2O13.
Photos of my work included in “Connecticut’s Indigenous People, Their Communities and Cultures, Then and Now” by Lucienne Lavin. Published by Yale Peabody Museum of Natural History and Yale Press.

Affiliations

Vermont Abenaki Artist Association, Committee Member
Institute for American Indian Studies, Native Advisory Board, Committee Member
American Gourd Society
Northwest Connecticut Arts Council

Frederick M. Wiseman, P.h.D.

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Abenaki Nation of Missisquoi

Juried Artist since 2013

Fred Wiseman teaches Wabanaki decorative arts, ceremonial oratory, dance and song based on historical precedent, but adapted for modern venues and audience.

His most recent (2010-) work focuses on the choreography, stagecraft, regalia and ceremonial accoutrements for dances and ceremonies associated with the agricultural and ceremonial calendar, from Winter solstice observances through spring planting ceremonies, to the various sun dances through the green corn and harvest supper observances. However, in the past, he has worked in other media and formats from “fashion shows” to ceremonial gaming, to the crafting of arms and armor.

Fred uses whatever is necessary to accomplish the goal, from set (stage) design to rock and shell carving to clothing to video and printed word.

Artist Statement

I am a scholar and artist whose purpose is to connect the Indigenous Peoples of Vermont and their environs to their stylistic heritage by all means necessary, whether it be through film/graphic arts, the performing arts or the decorative arts. Professional goals and objectives revolve first around repatriation, the converting of written data, or archival music artifacts and imagery held by Euroamerican institutions into formats and systems of knowing usable by Indigenous people and organizations for cultural reclamation and revitalization. Second, it incorporates tradition and revelation as guideposts in this work. Third it incorporates going beyond recaptured tradition to synthesize antique materials and motifs with the contemporary, to envision an alternative, syncretic stylistic world that could answer –“what if Genocide of Northeastern Natives had been less complete?” Southwestern and Plains Native styles rooted in deep time arts tradition flourish in the West, why not allow this to happen in Indigenous Vermont?

My work is not available for sale to the Euroamerican public, it exclusively produced for tribal governments, organizations and citizens and lent or given at no cost to the recipient. The artist’s designs and productions, ranging from regalia to wampum belts and collars belong to the Pleasant Point and Indian Township Governors (ME), The Citizens of the Aroostook Band of Micmacs (ME), the Grand Chief of the Seven Nations at Akwesasne (NY), and the Chiefs and Tribal Councils of Missisquoi, Nulhegan and Koasek (VT).

However, my work has been exhibited and studied over the years at the various venues listed below.

Contact

Image of graphic design by Dr. Wiseman. — Frederick Wiseman, Graphic Designer, 2013

Image of girl holding staff with wampum belt made by Fred Wiseman. — Belt on staff made by Dr. Wiseman

Image of Paleo-Indian Sea-Mammal hunter. — Belt on staff made by Dr. Wiseman

Exhibit, event and performance history:

1994 “The Spirit of the Abenaki.” Chimney Point Historic Site. Jewelry and sculpture.

1994-1995 “The Light Of the Dawn.” Chimney Point Historic Site. Jewelry and wood sculpture

1995

“Shamans, Magicians and the Busy Spider” Rochester Museum of Art. Rochester, NY. Jewelry and wood sculpture.
“Abenaki Dawn” American Indian Institute. Washington, CT. Jewelry and wood sculpture.

1996

“Light from the Dawnland” San Diego Museum of Man. San Diego, CA. Jewelry and wood

sculpture.

1998- 2008 Abenaki Tribal museum, Swanton, VT (All museum installations)

1999 The Great Council Fire Performance. The Akwesasne Cultural Center (NY)

2001

“Wabanaki Wampum” Old York (ME) Historical Society. Wampum belts
“Notes from the Underground” Shelburne Museum. Stone wampum, wood

2001 Kanien’kehaka Raotitionhkwa Culture Centre (Kahnawake QC) “Seven and Six (Nations) Exhibit.

2001-2003 New Hampshire Historical Society Museum, various exhibits and event)

2004 “Wabanaki Memories. Missisquoi Valley HS Stone, Wampum, wood.

2004 Museé des Abénakis (QC) (my materials are on permanent exhibit there.)

2005

Great Council Fire Exhibition Museé des Abénakis. Wampum and stonework.
“Against the Darkness” Screened at the Museé des Abénakis (Odanak, QC), March 22, 2005
“Against the Darkness” Screened at Mashentucket Pequot Museum. Mashentucket, CT. Oct. 16, 2005
“Against the Darkness” (35 Minute digital video) Screened at the Vermont Archaeological Society, Oct. 1, 2005

2007

“The Material Heritage of 17^th Century Vermont. Lake Champlain Quadricentennial “Workshop” St. Michael’s College, June 13, 2007

2007-2013 The Lake Champlain Maritime Museum, June, Indigenous Heritage Celebration (also my materials are on permanent exhibit there.)

2008 Passamaquoddy Section of the Downeast Heritage Museum, (ME) (my materials are on permanent exhibit there)

2010 ECHO Science Center and Lake Aquarium, Materials of Culture: 10,000 years of Abenaki Attire (also my materials are on permanent exhibit there.)

2010

Indian Township Museum (ME), (my materials are on permanent exhibit there.)
Wapohnaki Museum (ME) “Language and Object” Exhibit and Discussion.

2011 “Before the Lake Was Champlain” Screened at the New England Antiquities Research Association Conference, Burlington, VT. October 2011

2013

“1609:the other side of history.” Screened at the Swanton 250th Anniversary
“Dinner and a Movie” Program. Swanton, VT, April 28, 2013

2014

Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All My Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

Publications

1987

Mapping antiques. Maine Antique Digest, Waldoboro ME. Feb. 14-15C.
Folk art and antiques: a different view. Maine Antique Digest, Waldoboro, ME
The case of the peripatetic candleholder. Maine Antique Digest, Waldoboro, ME July 34-35 B.

1990 Some Queen Anne furniture of the Federal Period. Maine Antique Digest, Waldoboro ME

Jan.1991

“The Colchester Jar” pp. 98-99; “Quillwork trinket box; thimble cover, notions basket and pincushion”; “Beaded reticule” pp. 178-183; “Rectangular bark container”, pp. 204-205; and “Tipi and canoe”, pp. 216-217. In Graff, N.P.
Celebrating Vermont: Myths and Realities.University Press of New England.Hanover
American Indian Art and Native Americans. Maine Antique Digest, Waldoboro, ME

1994

Bapwoganal Alnobaiwi: The Games of Wôbanakik Cedarwood Press. Underhill, VT. 3 figures. 10 pp.
Ngwegigaden, an Abenaki year.(11″ X 17″ Three-color poster and accompanying handbook). Cedarwood Press. Underhill, VT
Wôbanakik. (11″ X 17″ Three-color poster map and accompanying handbook) Cedarwood Press. Underhill, VT
We were always here. (9″ X 17″ Two-color poster and accompanying handbook) Cedarwood Press. Underhill, VT

1995

The Gift of the Forest. Ethan Allen Homestead Abenaki Handbook Series # 1. Lane Press. Burlington, VT. 10 figures. 12pp.
Wôbanakik, the Ancient Land of the Dawn. (18″ X 24″ Four-color map and accompanying handbook) Cartography by Kevin Ruelle. Horseman Press. Burlington, VT
Wild Plant Foods of the Abenaki. Ethan Allen Homestead Abenaki Handbook Series # 2. Lane Press. Burlington, VT. 12 pp.
Abenaki Clothing Ethan Allen Homestead Abenaki Handbook Series # 3. Lane Press. Burlington, VT. 7 figures. 12pp.
An Annotated bibliography and resources list for Abenaki studies. Cedarwood Press. Underhill, VT. 22 pp.
“New Abenaki Booklets available.” in The Oracle. Summer, 1995. Ethan Allen Homestead. Burlington VT. p. 3.
“A view from within” Vermont Humanities. Winter 1994-95. Vt. Council on the Humanities, Hyde Park, VT. p. 6.

1996 History in beads. Historic Roots. Pp. 25-30 Montpelier, VT.

1997

Linda Pearo, Frederick Wiseman, Madeline Young and Jeff Benay. New Dawn: The Western Abenaki, a Curricular Framework for the Middle Level. Franklin Northwest Supervisory Union Title IX Indian Education Program, 14 First St. Swanton, VT 05488

1997 Wobobial. (18X26 pictorial poster and accompanying handbook) Abenaki Tribal Museum. Lane Press, Burlington

2000 The Abenaki and the Winooski. In L. Krawitt. The Mills at Winooski Falls. Onion River Press. Pp. 7-10 Winooski

2001 The Voice of the Dawn University Press of New England. Hanover, NH.

2003

“Abenaki”, “Abenaki Heritage Days” p. 31; “Mahicans” pp. 194-195;
“Missisquoi Village” p. 207;
“Winoskik” 327 in Duffy, J, S. hand and R. Orth. Vermont Encyclopedia University Press of New England, Hanover
“Truthless”. Seven Days, Sept. 10-17, 2003. p. 4A

2005

The Wabanaki World Vol. I : Decolonizing a taken prehistory of the Far Northeast University Press of New England
Blom, Deborah, James Petersen and —– “Repatriation and Monument Road:
Abenaki and archaeologists efforts to find a solution.” In Jordan Kerber. Cross Cultural Collaboration. University of Nebraska Press

2008

“Changeling” Video, Miraclegirl Productions. 1522 Harvard Street Apartment 5, Santa Monica, CA (Producer)
“Calumet to crisis and back.” (Video) Franklin Northwest Supervisory Union Office of Indian Education (Producer/Director/Filmographer)

2009

At Lake Between. Lake Champlain Maritime Museum, Basin Harbor, VT, Champlain Tech Lake Champlain Maritime Museum, Basin Harbor, VT
“1609: The other side of history. Wôbanakik Heritage Center, Swanton, VT (Producer/Director)

2009 “1609: Quadricentennial Curriculum” Lake Champlain Maritime Museum lcmm.org/navigating

2010

Baseline 1609. Lake Champlain Maritime Museum, Basin Harbor, VT
“Before the Lake Was Champlain” Hidden Landscapes Productions 1 Hewins Farm Rd., Wellesley, MA (Co-Producer)
“The New Antiquarians” Hidden Landscapes Productions 1 Hewins Farm Rd., Wellesley, MA 02481 (Co-Producer)

2011

____ and Melody Walker. The Abenakis and their Neighbors: Teachers and Interpreters resources. Vermont Commission on Native American Affairs. Montpelier, VT.

2012

Reclaiming Western Wabanaki Ceremony: A Handbook for Cultural Revitalization. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2012:8. 313pp.2013
Theo Panadis sings Wabanaki songs. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:4. CD
Wabanaki Confederacy political and ceremonial songs. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:5.
Wabanaki Songs: Fun, Dance and Ceremony. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:6
Lets Learn Abenaki Songs I. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:8.n.d. P
Proposed K-12 Curriculum on Indigenous Vermont Studies Manuscript housed in the Wôbanakik Heritage Center archives

Awards:

1998 Highest ceremonial honors, Abenaki Nation at Missisquoi

2001 Great Peace of Montreal Honor Ceremony and Honor Inscription Museé de Montreal, Montreal, QC

2002 Keynote Speaker, Native American Studies in New England, University of New Hampshire

2005 Wampum Carrier, Seven Fires Alliance, Akwesasne Reserve, NY

2007 Keynote address. Vermont Alliance for Social Studies, Burlington, VT December, 7, 2007

2009 “Governor’s Award” Vermont Lake Champlain International Ceremony July 11, 2009

2010

Appreciation Ceremony. Missisquoi Abenaki Swanton, VT
Silver Astrolabe Award Lake Champlain Quadricentennial Commission

2011 Appreciation Ceremony. Missisquoi Abenaki Swanton, VT.

2012

Elnu Tribe Honor Ceremony Recipient of Gratitude. Basin Harbor, VT
Nulhegan Band Honor Ceremony. Basin Harbor VT

Affiliations

Vermont Abenaki Artists Association

Francine Poitras Jones

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2014

Francine Poitras Jones has been an artist from the time she held her first crayon. She was never satisfied with just staying within the lines; she enjoyed shading and blending colors. Francine started painting with oils at the age of 21. She took a short course in art through a program offered by the city. From there, she discovered acrylic paints and enjoys adding bark, sand, twigs, shells, and other “found” items to her paintings.

Francine is also the illustrator of two children’s books. She collaborated with Brian Chenevert to illustrate a coloring book, Abenaki Animals and most recently, they have collaborated again on the storybook Swift Deer’s Spirit Game, which is available on Amazon.

She retired from a career in marketing and copy editing to pursue a second career substitute teaching grades K through 5. She also presents Abenaki educational programs. Her artwork is featured in Abenaki curriculum materials, exhibitions, and is used for illustrating books. As well, Francine is currently an educator for the Abenaki Arts & Education Center.

Artist Statement

Like so many other native artists, my favorite subjects are from nature, and my paintings show my passion for Mother Earth. I have drawn and painted almost as long as I can remember. Being able to express my heritage through art is a real gift from Creator.

I especially enjoy painting on wood. I like to frame my work using twigs and other items from nature, including leather. I enjoy working with leather and make pouches, fashioning them from the way the piece of leather looks and letting my imagination run wild.

Image of Doris Mayne in her regalia. — _{Doris Mayne in her regalia.}

In addition to painting and making leather pouches, I make regalia. In 2014, I made my mother’s first regalia from her head (headband) to her toes (beaded moccasins), including her dance fan, dress, and shawl. She was 86 years old at the time and had never danced in the circle because she had never been allowed to express her identity as an Abenaki woman. She crossed over in 2021 just two days before her 94th birthday. I am so happy that she had a chance to dance in the circle and show the world who she was. It will always be one of my fondest memories.

Contact

Etsy Store: BlueWolfCrafts

Acrylic painting of a water scene with many shades of blues and greens. — _{Water is Life}

Image of wave painted with pastels by Francine Poitras Jones. — _{Crashing Wave}

Image of beaded moccasins and peaked cap made by Francine Poitras Jones — _{Beaded Moccasins and peaked cap}

Image of beaded Possibles Bag by Francine Poitras Jones. — Beaded Possibles Bag

Image of 18th Century Abenaki Couple painted by Francine Poitras Jones. — 18th Century Abenaki Couple

Image of wall hanging by Francine Poitras Jones. — Great Blue Heron wall hanging

Exhibits

2021

“Abenaki People Emerging From the Ashes”, show and sale, Two Villages Art Society: Gallery, Contoocook, NH
Group Show, Bennington Museum, Bennington, VT
Nebizun: Water is Life, Vermont Abenaki Artists Association and Lake Champlain Maritime Museum. Vergennes, VT
Perquiman Art League Gallery, Hertford, NC

2017-2020

Burlington International Airport – Abenaki Exhibit
Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum
Perquiman Art League Gallery, Hertford, NC

2019

Group show office of Bernie Sanders, Washington, DC
Nebizun: Water is Life, Vermont Abenaki Artists Association and Lake Champlain Maritime Museum. Vergennes, VT
Babaskwahomwôgan: The Spirit Game. Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH
T.W. Wood Gallery, Montpelier, VT

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

All of my Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH

2010 – 2011

Friday Night at the Arts, Petersburg Regional Art Center, Petersburg, VA

Available for Purchase

Etsy Shop: BlueWolfCrafts

Affiliations

Vermont Abenaki Artists Association
Abenaki Arts and Education Center
Perquimans Art League in North Carolina

Don Stevens

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2013

Chief Don Stevens is an award-winning leader, businessman, writer, and lecturer. He has been featured in magazines, books, TV shows, and documentaries. He was appointed to the Vermont Commission on Native American Affairs by Governor Douglas in 2006 for two terms, where he served as Chair and led the fight to obtain legal recognition for the Abenaki People in Vermont. Chief Stevens was able to acquire tribal land for the Nulhegan Tribe which had been absent for over 200 years. A gifted storyteller, he speaks about issues of Native American Sovereignty, Racial Disparity, and Abenaki Identity.

He was appointed by the Attorney General to the “Racial Disparities in the Criminal and Juvenile Justice Systems Advisory Panel” and serves on the Lake Champlain Sea Grant Advisory Panel and Vermont State Police Fairness and Diversity Advisory Panel.

Contact

Address: 156 Bacon Drive

Shelburne VT 04582

Image of breast plate made by Chief Don Stevens. — Breast Plate

Image of Raccoon Bag made by Chief Don Stevens. — Raccoon Bag

Exhibits

2017 – 2018

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2014

Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT

Events and Performances

2013 – 2018

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Shelburne Museum, Shelburne, VT

Nulheganaki, Island Pond, VT

2012

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Nulheganaki, Island Pond, VT

2011

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Speaking To The Ancestors Abenaki Gathering. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

2010

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Winter Celebration. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

2009

Vermont Indigenous Celebration. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

Affiliations

Vermont Abenaki Artists Association

Diane Stevens

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist

My Love for nature photography was a natural progression of my love for travel. A friend of mine joined the Peace Corps and encouraged me to join her for a two-week adventure in Namibia and Zambia, Africa. Thus began an incredible photographic journey. Vermont’s abundant wild life and beauty have enable me to hone my craft.

Hiking and back water kayaking have led to incredible, yet at times challenging, photographic opportunities. Continued travels in New England, Florida, and Peru have expanded my appreciation of all nature has to offer. I recently won best in color at the Seaba Artists Exhibit.

Contact

Store: Diane Stevens Photography

Peruvian love birds in vibrant colors by Diane Stevens. — Love Birds in Peru

Monkey staring at the camera - taken by Diane Stevens. — Peruvian Monkey

Exhibits

2016 to present

Indefinite Exhibit at Trinity Church in Shelburne, Vermont

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2016

Solo photography show at Charlotte Senior Center . Charlotte, VT.

SEABA (Arts Alive) photography exhibit at One Main Street, Burlington, Vt

Documentary

2015

Photos utilized in Wabanaki Confederacy Documentary

Awards

2017

Best in Color for Nature’s Pallet. Annual Open Photography Exhibit . Arts Alive.

Billie Jo Garfield

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki

Juried Artist since 2016

Billie Jo is an avid seamstress who enjoys making regalia. She is known in her community as a seamstress who makes dresses and skirts, ribbon shirts, shawls, leggings, and even traditional coats.

Contact Info

Image of Ribbon Dress, Shawl and Leggings. — Ribbon Dress, Shawl, and Leggings

Image of Cherokee-style tear dress. — Cherokee-style tear dress

Art Markets

2016

Annual Native American Weekend/Abenaki Heritage Celebration, Lake Champlain Maritime Museum, Vergennes, VT

2015

Wabanaki Confederacy Conference, Shelburne, VT.

Affiliations

Vermont Abenaki Artists Association

Bill Gould

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2014

Image of Bill and Sherry Gould — Bill and Sherry Gould

Bill Gould lives in Warner, NH with his wife Sherry. They were both born and raised in New Hampshire. Together they raised their two daughters in Warner. Bill is a lumberman by trade. They celebrate their Abenaki heritage and love making beautiful baskets.

Together Sherry and Bill studied utilitarian Abenaki basket-making in 2006 under master artist Newt Washburn of Bethlehem, NH. Bill has taught Steve Lewko Abenaki utility basket making for two years through an award from the NH Arts Council, Traditional Arts program.

In 2011 Bill, together with Jesse Lacquer started the NH/VT Abenaki Basketmakers Alliance. Bill and his wife, Sherry, work to maintain basketmaking as part of Abenaki culture through teaching other Abenaki through the traditional arts programs in New Hampshire and Vermont.

Artist Statement

I like to make baskets. My life and livelihood revolves around wood. Basket making ties my love of wood to my Native American heritage. I got started back when my wife needed molds and tools to make her baskets. Eventually, I worked with Newt Washburn; I learned to identify brown ash trees, cut them, pound them and prepare the wood into strips for splints and weavers or handles or rims.

I love working with a crooked knife; it allows me to feel the wood. Newt taught me to try different methods and do what works best for me. I like a certain method of joining my swing handles; instead of using a small brass nail, I weave a tail of the wood through itself. I think that works good. It is especially rewarding for me to hold a finished basket in my hands, knowing that I have made good choices about using the right pieces of wood and preparing them with skill.

In my daily work, I harvest trees, saw them into boards, provide slabs for boiling sap to syrup, provide lumber to build things like houses or furniture, renovate my home and heat my house with it. Basket making requires no modern technology to create something visually pleasing that is as functional today as it was 200 years ago. I want to do my part to preserve this timeless culture. When people see my basket, I’d like them to see its art form and to see themselves using it.

Contact Info

Note: The Goulds do not have a store; however, they will accept custom orders.

Image of Toboggan made of Ash, Cherry, & Birdseye Maple — Toboggan made of Ash, Cherry, & Birdseye Maple by Bill Gould

Image of Lamp Shade Basket made by Bill Gould. — Lamp Shade Basket

Image of Fish Creel with Leather Straps made by Bill Gould. — Fish Creel with Leather Straps

Image of bicycle basket made by Bill Gould. — Bicycle basket

Demonstrations

2013

Discovering Your Native American Roots, Franklin Pierce Homestead, Hillsboro, NH
Mt. Kearsarge Indian Museum, Harvest Moon Festival, Warner, NH
Lee Farm Fiber Festival

2012

Nulheganaki. Island Pond, VT
Mt. Kearsarge Indian Museum, Harvest Moon Festival, Warner, NH

2011

“New Hampshire Open Doors”
Harvest Moon Festival, Mt. Kearsarge Indian Museum, Warner, NH
Town of Holderness 250th Celebration, Holderness, NH
The Hillsboro Historical Society., Hilsboro, NH
Franklin Pierce Homestead, ,NH

2010

Cornish Fair, Cornish, NH

2009

League Of NH Craftsmen Fair

2008

Saratoga Native American Festival, Saratoga, NY

Exhibits

2014

“Traditional Sources, Contemporary Visions” – Invitational Group Art Exhibit
Lake Champlain Maritime Museum, Vergennes, VT

2011

Basket Trail, Warner Historical Society, Warner, NH.

2010

Baskets and Boxes, Gallery 205, LNHC, Concord, NH
New England-Based Indigenous Artists, Diamond Library, UNH, Durham, NH
Walking with Us – Honoring the Northeast Native American Heritage, Mill Brook

Gallery & Sculpture Garden, Concord, NH.

2009

Tomorrow’s Masters, Hopkinton Historical Society, Hopkinton, NH
First People of the Northeast, Mill Brook Gallery & Sculpture Garden, Concord, NH

2007

Gallery 205, League of New Hampshire Craftsman (LNHC), Concord, NH.

Consultations

“Abenaki Basket Trail” Organizing consultant, sponsored by Mt. Kearsarge Indian Museum, Hopkinton Historical Society, Newbury Historical Society, Warner Historical Society, New Hampshire Historical Society (2009-2011)
“Hillsboro, NH Living History Event” Implementing a Native American component to this annual event. For 2011 funding from the NH Council on the Arts paid three Native American artists to present. For 2012 historic presentation of an early 19^th century Abenaki basket maker tourist camp with sales will be integrated to the program on Jones Road. (2010 – present)
“Holderness 250^th Anniversary” Arranged Native American artisians to demonstrate beadwork, basketmaking and flute making. Also a woods walk, “The Feast at our Feet” (2011)

Featured Articles
Aug 2009, Notice of 76^th annual Craftsmen’s Fair, Bradford artist demonstrators [online]. Bradford, NH: http://bradfordbridge.com, The Bradford Bridge. Available from World Wide Web: (http://bradfordbridge.com/2009/2009b_August_bradford_bridge.pdf)
2010. “timothy liles: new england collection at new york design week 2010” [online]. Design Boom. Available from the World Wide Web: (http://www.designboom.com/weblog/cat/8/view/10211/timothy-liles-new-england-collection-at-new-york-design-week-2010.html)
Josh Trott, “Bill Gould, Basket making, and the Emerald Ash Borer,” Writing of Indigenous New England, accessed February 13, 2014, http://indnewengland.omeka.net/items/show/115.

Awards

Traditional Arts Apprenticeship grant NH Council on the Arts, Steve Lewko intern, Warner, NH, 2012
Traditional Arts Apprenticeship grant NH Council on the Arts, Steve Lewko intern, Warner, NH, 2013

Affiliations

NH/VT Abenaki Basketmakers Alliance
League of New Hampshire Craftsman (2009-present)
Northeast Basket Makers Guild (2010-present)
Vermont Abenaki Artists Association

Amy Hook-Therrien

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Koasek Traditional Band of the Koas Abenaki Nation

Juried Artist since 2014

Amy Hook-Therrien has a Bachelors Degree in Fine Arts from the University of Maine. She has been painting for almost ten years. She specializes in water colors and is inspired by nature. Amy is also a Traditional Abenaki singer.

Artist Statement

I love to paint natural things, it could be a flower, a landscape, or a topographical map. I try to segment my pieces, painting and focusing on small areas at a time. I love to mix my colors in a way that they tend to separate slightly, giving the paintings texture.

Painting of birch tree called Spring Birch by Amy Hook-Therrien. — Spring Birch

Painting called View from Little Ascutney by Amy Hook-Therrien. — Spring Birch

Contact Email: [email protected]

Individual Exhibition

2020 – Art, Etc. – Northfield, VT – June Exhibit – June

2020 – Barre Opera House – Barre, VT – March

2020 – New London Hospital – Chapel Hallway – New London, NH – January -March

2019 – Dartmouth Hitchcock Medical Center – Fifth Floor Rotunda – Lebanon, NH – October – December

2019 – Yester House Solo Shows – Southern Vermont Arts Center, Manchester, VT

2019 – Emerging Artist Show – Littles – Long River Gallery, White River Jct., VT

2019 – Solo Exhibition – Vermont Institute of Natural Science – Quechee, VT

Awards

2020 Overall Favorite & Most Technically Accomplished – Spring No. 3 “Wild About Watercolor” Exhibition – Matt Brown Fine Art

2019 Vermont Artists Association – Artist of the Year

Image of magazine cover with Amy Hook-Therrien

Publications

2021 – Image Magazine – “Inspired by Nature – Artist Amy Hook-Therrien – Mountainview Publishers – Spring 2021
2021 – No. 2 Homebound Still – Korongo Books
2020 – Vermont Almanac – Volume 1 – Corn Sketch
2019 – My Parents Told Me to Study Art – Korongo Books – October, 2019

Group Exhibitions

2021 – “Let Us Introduce You” – Bryan Memorial Art Gallery, Jeffersonville, VT – Sept – Nov

2021 – “Exploring Earth” – Spruce Peak Arts – Stowe, VT – June – October

2021 – “Alnobak Moskijik Maahlakwsikok – Abenaki People Emerging from the Ashes – Two Villages Art Society – Contoocook, NH – May 7 – May 28

2020-2021 – Matt Brown Fine Art Holiday Exhibition – Lyme, NH – November – January

2020 – AVA Holiday Exhibition – AVA Gallery – Lebanon, NH – November – December

2020 – “Wild About Watercolor” – Matt Brown Fine Art – Lyme, NH – October 16 – November 21

2020 – “Pushing The Envelope” – Pulp Gallery – Holyoke, MA – May – June

2019 – “I AM…” – Vermont Arts Council – Spotlight Gallery – Montpelier, VT – November 8th

2019 – “Colors of Life” – Vermont Watercolor Society – Tunbridge Library, Tunbridge, VT – Sept – Nov

2019 – I AM... Vermont Arts Council. Montpelier, VT

2016 – Nebizun: Water is Life, Lake Champlain Maritime Museum. Vergennes, VT.

2017 – 2018 – Alnobak: Wearing Our Heritage (traveling exhibit). Vermont Abenaki Artists Association and Lake Champlain Maritime Museum.

2016 – Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015 – Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT

2014 – Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT

All My Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH

2010 – You Are Here Senior Show – University of Maine, Maine 2009

Juried Student Show, Lord Hall – University of Maine, Maine

Affiliations

Vermont Abenaki Artists Association

Aaron York

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2017

Aaron York is an internationally celebrated traditional artist, educator, public speaker and mentor. He is the owner and founder of the Red Child Studio of Fine Wabanaki Arts. Although best known for his skills as a birchbark canoe artisan, he has also revived several other rare Wabanaki art forms such as brides boxes and highly embellished crooked knives. His pieces are of equal complexity to the ancestral examples known in museums and private collections.

Image of Birchbark Moose Call. — Birchbark Moose Call

As a result, his arts can be found in museums and high-end private collections resting aside pieces of Wabanaki greats such as Tomah Joseph and Eugene Francis of the 1800s. Aaron’s arts have earned many prestigious publications as well placement Hollywood films, commercials, documentaries and radio worldwide.

In 2005, Aaron was asked by the Ministikwan Cree First Nation in Saskatchewan to go west and help them rediscover their traditional canoe forms. Since then, he has worked extensively with several western First nations in Canada to revive their aboriginal watercraft. In return for his teaching out west, he was immersed in all other aspects of Algonquian culture that he had been longing to learn. Aaron attributes being well rounded culturally to traveling to cousin nations where he found missing pieces of his nation’s traditions that were lost to colonization. Aaron now has strong family ties in the treaty 6 and treaty 7 regions of Saskatchewan and Alberta. In short, his time and bond with his western Cree cousins was life altering, and the quality of his art is what he attributes to making that relationship possible.

Image of Chip Carved Crooked Knife. — Chip Carved Crooked Knife

Image of Bride's Box Top & Side — Chip Carved Crooked Knife

Artist Statement

“Culture is not inherited, it is learned.” We do not arrive from the womb with the ability to speak our ancestral language or know our culture. It takes only one generation of failing to teach our children their culture for devastating cultural erosion to occur. As an eastern Native I know this all too well! This is what drives me to work so hard to create art that is “over the top” but well within the parameters of regionally specific, traditional Wabanaki art forms. Such art forms that are rare, labor intensive and have a life-long learning curve. I am trying to do my part to heal the toxic affect that cultural erosion has caused our people.

Material culture is a language! Its a non-verbal language that transcends the limits of what we can convey through speech or written word. Material cultural crosses racial divides, political boundaries, and time itself. Material culture gives us a direct form of connection to our ancestors, other living beings, and the Aki (earth) itself. When I give thanks to a beautiful canoe birch for the materials it provides me I make a promise to turn its skin into a timeless piece of beauty. The quality of my art is my greatest giving of thanks to the plants, animals and Aki that give to me. I am bound through an ancient traditional agreement with my plant, animal and human relations to do my absolute best with their gifts. This is what I offer the world, my nation, my family.

This is the non-verbal I message I encapsulate in my art to be understood by my descendants hundreds of years from now: “Do your very best. Always stay humble enough to improve your skill! Your hands are speaking for your people! You are telling the world what our values are! You are Wabanaskiya! You are a human representative of Aki’s beauty, health, and a celebration of life itself! This is the only thing you inherit! The rest is up to you to show just how much beauty you can convey through good hands, just as we did, and my grandmothers and grandfathers did before me. Love your culture. Love yourself as much as we love you grandchild and pass this message on through your art the way we passed this on to you!”

Mkwe Awasis (Red Child)

Aaron York

Contact Info

Address: 120 Elmwood Drive, Barre VT 05641

Exhibits

2005

Fawn Skin quiver, Permanent Collection, Odanak Museum, Odanak FN, QC

2008

Bride Box (bent wood box elaborate chip carved), Flemming Museum, permanent collections Burlington, VT.

2007-present

Birchbark Canoe on permanent exhibit, Abbe Museum, Acadia National Park Location, Acadia National Park, ME.

Events and Workshops

2003

Canadian Canoe Museum, prep assistance on 36′ fur trade canoe, Peterborough ON
Odanak Homecoming, canoe build demo, QC, Canada

2004

Onsite build for “Gifts of the Forest,” McCord Museum, , 2004 Montreal, QC, Canada.

2004-2005

Birchbark canoe class, Wooden Boat School, Brooklin, ME.

?2005

Birchbark canoe class, Ministikwan First Nation, 2005 and 2016, Saskatchewan, Canada.

2006

Birchbark canoe class, Cold Lake First Nations,Cold Lake, Alberta, Canada
Onsite Build of Ocean canoe, Penobscot Marine Museum, Searsport, ME.

2007

Birchbark canoe class, Cold Lake First Nations,Cold Lake, Alberta, Canada
“Champlain Canoe Build,” Lake Champlain Maritime Museum, Vergennes, VT

2008

Birchbark canoe class, Cold Lake First Nations,Cold Lake, Alberta, Canada
Birchbark canoe class, Blue Quills First Nations University, St Paul, Alberta Canada

2009

Take A Kid Trapping Program, Youth Birchbark Canoe Class, Fort Simpson, Northwest Territories, Canada

2016

Birchbark canoe class, Ministikwan First Nation, 2005 and 2016, Saskatchewan

Featured in Publications

American Indian Arts Magazine, 2006
Encyclopedia of American Indians, 2007
Kent, Jeanne Morningstar. Wabanaki Interviews. The Visual Language of Wabanaki Art, History Press. 2014. p 87-97
Montreal Gazette, 2001
Mocotaugan, The art and history of the crooked knife, 2005
Men at War Series, Northeastern American Indians 2004
Wabanaki Artists, 2012
National Film Board of Canada, Alanis Obomsawin, 2006
BBC, 2001

Film and Media

Reger, Deborah. Moccasin Tracks . Recorded March 2017. WGDR 91.1 FM

List Awards:

Significant Cultural Benefit Status, Government of Canada, achieved 2006

Affiliations

Vermont Abenaki Artists Association
Blue Quills First Nations University, St Paul, Alberta Canada
Ministikwan Cree First Nation, Island Lake, Treaty 6, Saskatchewan Canada
Cold Lake First Nation, Cold Lake, Treaty 6, First Nation Canada
Kujjuuaq Inuit, Makivik Corporation, JBNQA Treaty, Nunavik Canada
ᑳᓂᔮᓯᕁ kâniyâsihk Culture Camps, Island Lake Cree First Nation

Aaron Wood

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2018

Image of Aaron Wood making a basket. — Aaron Wood making a basket

Aaron Wood descends from a line of Abenaki basket makers. Both he and his mother Kerry Wood did traditional basket making apprenticeships under the renowned basket maker Jeanne Brink. Aaron is familiar with all phases of basketmaking from the initial harvest, through pounding the Ash log to produce long thin splints that will ultimately be wove into a lovely basket.

Artist Statement

Building on a three year apprenticeship with Abenaki master basket maker Jeanne Brink, I weave fancy designs from the 1800s to 1940s styles, as well as less processed work baskets for traditional gathering and household tasks. I also apply traditional techniques to modern recycled materials at times, my ancestors adapted what was available to them, and so do I.

I demonstrate material preparation in exhibit settings to give people a better appreciation for the effort that goes into traditional work.

Image of inside of ash basket. — Inside of ash basket

Contact

Email: [email protected]

Events

2017- present. Abenaki Heritage Weekend, Vergennes, VT.

2013 – present

Dartmouth Powwow, Dartmouth College, Hanover, NH

2014, 2016 Vermont History Expo, Turnbridge, VT

2013 – present. Saratoga Native American Festival, Saratoga, NY

Affiliations

Vermont Abenaki Artists Association

Elnu Abenaki Singers

June 9, 2023March 28, 2021 by Administrator

All are Enrolled Citizens of the Elnu Abenaki Tribe

Elnu Abenaki Singers

For more over two decades, the Elnu Abenaki Singers have performed across the Northeast and mid-Atlantic regions. They are invited to sing at events, museums, school, and historic sites They echo the voices of their ancestors, who have lived in N’dakinna (the land) for thousands of years.

The public has come to know the Elnu Singers through their repertoire of Wabanaki songs and chants; their signature Eastern style hand drums and rattles. With each new song comes an explanation of what it means and any historic information with may be related.

The Elnu Singers are of mixed ages. The group includes men, women, and children. They can perform in either modern or traditional clothing from any era from the early 17th century to contemporary.

Contact Info

Chief Roger Longtoe Sheehan

Click here to listen to the Elnu Abenaki Singers

Filmed in night vision at the Jamaica State Park archeological dig. The El-Nu Abenaki Tribe Singers led the public through a night of traditional story-telling and songs. Featured here is one of those songs and the protocol that surrounds it.

For more information on the El-Nu Abenaki Tribe please visit:
http://elnuabenakitribe.org/

Film by Lina Longtoe. Featured in the Lake Champlain Maritime Museum’s exhibit, “Contact of Cultures, 1609.”

Brian Chenevert

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2016

Brian Chenevert in white ribbon shirt. — Brian Chenevert

Brian Chenevert is the Historic Preservation Officer for the Nulhegan Abenaki Tribe and a talented artist. He is a storyteller, author, and wood worker. who was taught wood carving and whittling by his grandfather at a young age.

He is a history buff whose research helped to revive the traditional Abenaki winter game of Snow Snakes which has now been played annually since 2007. Brian’s hand carves snow snakes, war clubs and rattles decorating them by burning in traditional Wabanaki designs.

For almost 20 years Brian has provided traditional Abenaki and Wabanaki stories for multiple Abenaki newsletters and in 2015 published his first book, “Azban’s Great Journey”, which is a compilation of traditional and original tales of the Abenaki trickster – Azban, the raccoon. Azban’s Great Journey is now available for purchase on Amazon.

Image of Brian Chenevert reading to children. — _{Brian Chenevert reading to children}

Brian has developed the coloring book Abenaki Animals with fellow Nulhegan Abenaki artist, Francine Poitras Jones. Most recently, they have collaborated on the storybook Swift Deer’s Spirit Game (2019) that was just released.

He is also a drummer and singer who performs with the Nulhegan Abenaki Drum.

Artist Statement

I have always loved working with wood, carving and shaping it into a creation of all your own. I enjoy taking a simple branch and working it into a snow snake which will bring joy to some boy or girl at our annual winter games.

I have been telling and sharing Abenaki stories for many years, providing stories for multiple Abenaki newsletters and culminating in completing my first book about Azban the raccoon. The tales of Azban, in particular, are ones my children loved to hear over and over throughout the years which is what led to him being the topic of my first book.

In 2015, Brian published his first book, “Azban’s Great Journey”, which is a compilation of traditional and original tales of the Abenaki trickster – Azban, the raccoon. Azban’s Great Journey is now available for purchase on Amazon.
Brian has developed the coloring book Abenaki Animals with fellow Nulhegan Abenaki artist, Francine Poitras Jones. Most recently, they have collaborated on the storybook Swift Deer’s Spirit Game that was just released.

In addition to woodworking and carving, I enjoy bead work and crafting and have made many pieces which include porcupine quill earrings and chokers, wampum earrings, belts, bracelets, and necklaces.

Contact Info

Image of war clubs made by Brian Chenevert. — War Clubs

Image of rattle made by Brian Chenevert. — Rattle

Image of snow snakes made by Brian Chenevert. — Snow Snakes

Image of book called Azban's Great Journey

Presentations

2016, 2018

Abenaki Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Publications

2015 Azban’s Great Journey, Amazon Publications, Print Media – Available on Amazon
2019 Swift Deer’s Spirit Game. Crowstorm Publishing – Available on Amazon

Radio Interviews

Reger, Deborah, Moccasin Tracks. January 2016. WGDR 91.1 FM
Native Opinion. February 12, 2016. http://nativeopinion.com/new-events/2016/2/12/podcast-guest-brian-chenevert

Affiliations

Vermont Abenaki Artists Association

Lucy Cannon-Neel

June 9, 2023March 28, 2021 by Administrator

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2017

As the Education Coordinator the Title VI, Indian Education Grant for the Nulhegan Abenaki Tribe, she provides programs for elementary schools, high schools, and colleges, and she has created the Nulhegan Youth Drummers because she believes that teaching Native American culture to the youth is very important.

Lucy enjoys painting in all mediums, enjoys pottery and many other crafts. She currently has paintings on exhibit at Holland Town office, and her art has been exhibited at T.W. Wood Gallery in Montpelier, Derby Line Days, and other venues .

As a Certified School Nurse Lucy obtained her nursing degree from the University of South Florida, she has worked in the Emergency Room, Intensive Care Units, dialysis unit, school nurse and served as Mayor of Zolfo Springs Florida.

Artist Statement

I have been painting and studying art over the past decade or so. I have been fortunate to work with Bea Nelson and other artists over the years. Painting, I find, softens the soul. It is a peaceful time for me. The outside forces just wither away and I’m focused on the project at hand. It is my happy place. I find I am in tune to the depths and shapes and colors of the forest, plants and animals and in trying to get their likenesses challenging.

Contact