Carolyn Anderson

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TRIBAL AFFILIATION: Maliseet

MEDIUM: Painting/Illustration

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

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

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

 

Connect with Carolyn

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Maya Attean

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TRIBAL AFFILIATION: Penobscot

MEDIUM: Photography

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

 
 
 

Eric Otter Bacon

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry, Woodwork

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

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

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

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

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

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

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

 
 
 

Martha Bassett

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TRIBAL AFFILIATION: Penobscot

MEDIUM: Beadwork

ARTIST STATEMENT
”Kwey Kwey (Hello)

My name is Martha Bassett. I am a Beadwork Artist. I started beading when I was 15 years old. My Aunts taught me. I come from a long line of artists. My Great Grandmother was Irene Dana, a Master Basket Maker.

I have been beading for about 25 years. I am now teaching youth and adults in my community to bead. Being a Cultural Knowledge Sharer is wonderful, I am honored to be one. Teaching about our beading and keeping traditions alive is what is truly important.”

 

Connect with Martha

 
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Josh Carter

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TRIBAL AFFILIATION: Mashantucket Pequot Tribal Nation

MEDIUM: Jewelry

ARTIST STATEMENT
I am the son of Joseph Carter III and Nancy Bonin. I am of Pequot, Narragansett, African American and Irish decent. I am happily married to my best friend, we have four beautiful amazing children and recently received the precious gift of our first granddaughter. I am currently the Executive Director of our Tribal community’s very own Mashantucket Pequot Museum & Research Center. I am head over heels in love with the traditional art of wampum. I really enjoy the conversations around its traditional use, the Pequot’s relationship to the ocean and to address the perpetuated fallacy that wampum traditionally was money. I was fortunate enough to establish a strong relationship with the most talented wampum maker known in modern times, Allen Hazard (Narragansett). I am forever indebted to him for his gifts of wisdom and patience that transcends wampum making. I will continue to honor my ancestors, Allen and my family by teaching all those in my community who would like to learn. I feel blessed to carry on this most beautiful ancient tradition.

 
 
 

Zeke Crofton-MacDonald

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TRIBAL AFFILIATION: Wolastoqey

PANEL: Centering Wabanaki Voices in America's 250th

BIOGRAPHY
Osihkiyol (Zeke) Crofton-Macdonald is a Wolastoqey person from the Houlton Band of Maliseets in Maine (Metaksonikewiyik) and the Oromocto First Nation (Welamukotuk) in New Brunswick, Canada. Zeke has spent his life advocating for Native rights in the United States and Canada. He is currently serving as the Tribal Ambassador for the Houlton Band of Maliseets in Maine. He serves as the President of the Wabanaki Alliance and as Tribal Commissioner for the Houlton Band on the Maine Indian Tribal State Commission (MITSC). Zeke graduated from the University of Maine in 2015 where he received a BA in History and attended graduate school at the University of New Brunswick to continue his work in History. He focused his graduate studies on Wabanaki Treaty History. Before assuming his duties as Ambassador, Zeke worked for the Welamukotuk First Nation in Resource Development Consultation, with the Wolastoqey Nation New Brunswick as a co-researcher documenting treaty hunting and harvesting rights, as a research associate at the Atlantic Canada Studies Centre at the University of New Brunswick, and worked for the Houlton Band of Maliseets with the Indian Child Welfare Act.

 

CroweQuill Creations - Reanna Crowe

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Jewelry, Quillwork

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

 

CONNECT WITH REANNA

 
Website
instagram
 
 
 
 

Ty Defoe

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TRIBAL AFFILIATION: Ojibwe + Oneida Nations

PANEL: Native Arts, Culture, & Technology

BIOGRAPHY
Ty Defoe (giizhig) – he/we – is a citizen of the Oneida and Anishinaabe Nations and a proud member of the Indigiqueer/Two-Spirit community. A Grammy Award-winning interdisciplinary artist, writer, and sovereign story trickster, Ty moves fluidly across mediums and movements. His work has been recognized with fellowships from the Robert Rauschenberg Foundation, MacDowell, Sundance Institute, and as a Trans Futurist with the Pop Culture Collaborative. Ty is also a recipient of the Jonathan Larson Award, a Grammy Award, and the Helen Merrill Playwriting Award. Ty creates across landscapes—from rural communities to Broadway stages to the metaverse—building relationships that center Indigenous and decolonial futures. He currently serves as Professor of Practice at Arizona State University and Writer-in-Residence at PACE. Deeply rooted in indigi-futurism and cultural traditions, Ty has learned storytelling, hoop dancing, and flute playing from his mentor, the late Kevin Locke. He considers himself a shape-shifter, bending in and out of artistic forms to challenge Western binaries and honor the celestial force of rainbows. Ty loves the color clear and mood rings.

 

Connect with Ty

 
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Instagram
 
 

Kateri Aubin Dubois / Nisnipawset

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TRIBAL AFFILIATION: Maliseet of Viger

MEDIUM: Beadwork

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

 

Connect with Kateri

 
Email
Website
Facebook
Instagram
 
 
 
 

Tyler Everett

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TRIBAL AFFILIATION: Mi’kmaq

PANEL: Wabanaki Forest Futures

BIOGRAPHY
Tyler is a citizen of Mi’kmaq Nation and a PhD Candidate in the Ash Protection Collaboration Across Wabanakik (APCAW) lab at the University of Maine in Orono. His research prioritizes methodologies that result in Tribal led science. He is a PhD student in the School of Forest Resources here at the University of Maine and his current research focuses on the impacts of emerald ash borer (EAB) on Tribal ash resources and identifying innovative management and mitigation strategies for this forest health issue that Tribal Nation partners support and have interest in better understanding. This includes developing a Tribal supported integrated pest management strategy for EAB; one that considers silviculture and other adaptive management strategies, climate change, and most importantly Tribal cultural values.

 

Alexandra Francis

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TRIBAL AFFILIATION: Penobscot

MEDIUM: Jewelry, Beadwork

BIOGRAPHY
Alexandra (Neptune) Francis is a Peskotomuhkat (fisher clan) naka Panawapskewi (eel clan) citizen, mother, and artist. Growing up at Sipayik, learning basic beadwork at an early age, the seeds of cultural expression were planted.

Alex ventured into 2D art while in high school and university and continues to use skills acquired as a basis for all creation. In 2019, she revisited beadwork and has continued to actively create contemporary and traditional art.

Presently residing in Panawapskek territory, as a Wabanaki Traditional Arts mentor, Alex actively shares knowledge with others with the aim of continuity for cultural art forms. The vitality of our culture lies in the passing on of all the aspects of what makes us who we are- passing on the gifts of our ancestors.

 

Connect with Alexandra

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Corinna Francis

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Beadwork

 

CONNECT WITH CORINNA

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James Eric Francis Sr.

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TRIBAL AFFILIATION: Penobscot Nation

PANEL: Centering Wabanaki Voices in America's 250th

BIOGRAPHY
James Eric Francis Sr. serves as the Director of Cultural and Historic Preservation, Tribal Historian, and Chair of the Penobscot Tribal Rights and Resource Protection Board for the Penobscot Nation. As a historian, he explores the relationship between Maine Native Americans and the land. Before his current roles, James contributed to the Wabanaki Studies Commission, assisting with the implementation of Maine’s Native American Studies Law in schools. He co-produced the documentary *Invisible*, which highlights the racism faced by Native Americans in Maine and the Canadian Maritimes. James is a member of the Abbe Museum’s Board of Trustees and Abbe Council, and he is a co-founder and Chair of Local Context, an initiative dedicated to supporting Indigenous communities in managing their cultural heritage and intellectual property. Additionally, he serves on the UMaine Hudson Museum Advisory Board and chairs the Maine Archives Board. James is also a visual artist, working as a historian, photographer, filmmaker, painter, and graphic artist.

 

Gabriel Frey

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry - Ash

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

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

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

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

 

Connect with Gabriel

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Aron Griffith

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TRIBAL AFFILIATION: Maliseet

MEDIUM: Basketry - Other

BIOGRAPHY
Aron Griffith, a Maliseet artist who resides in Maine & the Southwest, took on basket making in his early 30s & found a career that fulfilled his goal to raise awareness of the Maliseet traditions and culture. As an artist, he works with Maliseet traditional designs & concepts on birch bark which he gathers in the North Woods & Canada.

Aron is self taught and has developed his own unique style, including his birch bark dolls, burden baskets & rattles. Each piece of bark is selected carefully & with respect to the birch tree. Etchings are done using a needle or awl & usually decorated with sweetgrass, spruce root and brown ash. Aron’s baskets are functional pieces as well as decorative & his designs represent various animal and plant life.

Birch bark basketry has been made for centuries by Maliseet people of Maine and New Brunswick, Canada, a beautiful and unique art form that has remained with only a few artisans left in our community. Aron has produced several significant works that have been on display and for sale at the National Museum of the American Indian in Washington, D.C.

 
 
 

Chance Griffith

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TRIBAL AFFILIATION: Maliseet

MEDIUM: Basketry - Other

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

 
 
 

Eldon Hanning

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TRIBAL AFFILIATION: Mi’kmaq Nation

MEDIUM: Basketry - Ash

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

 
 
 

Emma Hassencahl-Perley

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TRIBAL AFFILIATION: Wolastoqey

PANEL: Native Arts, Culture, & Technology

BIOGRAPHY
Emma Hassencahl-Perley is a Wolastoqey visual artist, arts writer, educator and curator from Neqotkuk (Tobique First Nation) in New Brunswick. She earned a Bachelor of Fine Arts degree from Mount Allison University in 2017. In 2022, she completed a Masters of Art in Art History from Concordia University. Emma's artwork reflects her identity as an ehpit (woman) and a Wolastoqiyik citizen of the Wabanaki Confederacy. Her artistic themes explore water, the cosmos, Wabanaki feminisms, and the Wabanaki double-curve motif, symbolizing life cycles and relationships, including nationhood and community. These motifs serve as both a cultural and aesthetic foundation in Emma's practice, connecting ancestral Wabanaki material culture with contemporary digital storytelling techniques.

In addition to her art practice, Emma is the Curator of Indigenous Art at the Beaverbrook Art Gallery in Fredericton, New Brunswick.