Born in the Qu’appelle Valley in Saskatchewan, James Groening was given the name Blue Sky by his moshum (grandfather).

Although he is proudly part of the Cree nation and member of Kahkewistahaw First Nation, he didn't grow up knowing much about his Native heritage. Only after learning about the Sixties Scoop and that his family had spent generations in residential schools and saw the toll it had taken, that he decided to take up painting.

One of Blue Sky's biggest inspirations is Norval Morriseau, the grandfather of contemporary Indigenous art. Through his work, he hopes to create Native art that encourages the next generation to learn about their cultural heritage: by painting plants and animals that would be found on traditional regalia and meaningufl traditional stories.

Blue Sky is hopeful that the tide is turning, and that we can change the history from one of persecution to a future of reconciliation, working towards common ground together on Turtle Island.

Dakota Ray-Andreola is an Ojibway Artists based out of Mission, British Columbia, who comes from the Pic River Indigenous peoples of Biigtigong Nishnaabeg in Ontario. He arrived BC at a young age and attended the UA Piping Industry College of BC and is a journeyman welder.

Throughout his life he has demonstrated an effervescent fervour that attracted him to the arts and his work explores themes of fantasy, myth, escapism, personified truths, and what it means to be an Indigenous person in a modern age.

Inspired by famous landmarks, Ojibway culture and the works of imaginative modern artists such as Vincent van Gogh and Louis Wain, his medium of choice is acrylic paints on stretched canvas.

Dakota’s works have been displayed at the Native Art Renaissance Gallery. He hopes to never stop pursing his passion so his work may inspire others to also bring more colour into the world.

John Spence (SetaSten) is an Indigenous artist of Squamish Nation and Haida ancestry, working from Humulchstn on the Capilano Reserve in North Vancouver. Through his business, Spiritual Creations, John continues a carving tradition that began in 1982, when he first picked up tools at the age of twelve. John’s early inspiration came from his grandfather, Chief Simon Baker (Khat-La-Cha), a respected carver known for his talking sticks and small totems.

Surrounded by a strong family of carvers, John was raised within a living network of teachings, mentorship, and cultural knowledge. His work draws from Coast Salish history, family crests, and a deep relationship with the land and its animal relatives. Killer whales, eagles, bears, and wolves appear often in his carvings, reflecting the stories, values, and spiritual connections passed down through generations.

John primarily works with red and yellow cedar, alder, and Haida Gwaii argillite, a rare stone tied to his Haida lineage. His portfolio includes wall plaques, bentwood boxes, ceremonial masks, talking sticks, and totem poles.

John’s carvings have been displayed across the Lower Mainland of British Columbia, with recent major works including a totem pole for the Dr. Peter Centre and two totems installed at the Gordon Neighbourhood House. Through his art, John continues to carry forward ancestral teachings with pride, respect, and cultural responsibility.

Tristan Wright is an illustrator from Qayqayt First Nation. She creates work that pushes the boundaries of what urban Indigenous art can be.

Her work is an amalgamation of modern inspirations from digital culture: from video games and anime to online fandom. Tristan anticipates entering the world of professional concept art soon, after she completing her degree at Emily Carr University this semester.

This is exhibition features her personal work as well as her fourth year project centered around sci-fi Indigenous visual development and storytelling.