Highlighting
Indigenous Artists

This mural focuses on the powerful connection of Vancouver and it’s local indigenous nations to the spirit and animals of the ocean. It includes more than one hundred unique and vibrant colours sampled from images of both above and below the ocean surface. At more than 8 stories tall, this is the largest piece of public art in Vancouver by an artist from one of the three host nations (Musqueam, Squamish, & Tsleilwaututh) on whose unceded territory Vancouver currently resides. This project was generously supported by Vancity

KC Hall seamlessly merges his North Coast Formline style with contemporary abstract, manga, and Graffiti visuals to form a distinct artistic vision that is totally his own. Bright colours, shapes, and gradients overlap as the hard black lines of graffiti and formline weave in and out of each other. His graffiti background also allows the artist to work incredibly quickly. This was painted over the course of only a day.

The mural depicts two Thunderbirds wrestling around the sun with a conversation in Sḵwx̱wú7mesh and hən̓q̓əm̓inəm̓-- the two Indigenous languages of Vancouver shared between the Musqueam, Squamish and the Tsleil-Waututh people. The sentences say the same thing: "Is this our land?.”

Jordan states that the "People of the Inlet" have a close relationship to the land and the animals. He chose to depict a symbolic frog. In Coast Salish art the use of the frog typically symbolizes the voice of the people as well as innocence, stability and communication. It is also considered to be good luck.

Slurpee Stupor is an homage to chance encounters and things that can only really happen in East Van. 

The whole of the head of False Creek east of Main Street, was at one time a great mudflat, much like a great circular pool in the forest clad hills surrounding, now filled in. Sturgeon or q ∑ta: yθ n were once fished in these mud flats and were referred to as 'sister' when handling them. This tradition follows a story of a sister who loved the water so much, she was transformed into the sturgeon to help future generations. 

This image represents unconditional love, blessings and kindness. The image is representative of different First Nations artistic styles. A woman embracing, surrounded by the teepee poles representing home and the bond between them.

The Skipper, the Trickster, The Hunter, and the Dancer travel in a canoe transcending time and space. Stardust, Sea Monsters, electricity and water are interwoven with ancestral iconography and color. Travelling as one into the unknown, each element interconnects into the whole.

Trypophobia is a proposed fear of “irregular patterns or clusters of small holes or bumps.” An explanation is that this reaction could be a defence mechanism alerting to poisonous elements in the environment. This piece is intended to bring to focus and awareness of self destructive patterns of behaviour humans have which impact on the environment.

The sacred Thunderbird, Shxwexwo:s is a mythical being in Salish territory who represents STRENGTH and POWER. Zac George, Skokaylem, a Salish Artist from Tsleil-waututh Nation, has created this image in honor of the strength and balance required to live in two worlds. Whether it is emotional, spiritual, political, and in any walk of life, we must BALANCE everything with strength and resilience to persevere.

With the depiction of the revered Chief Capilano, these two artists collaborated on a design that connects to local Capilano history and a swuqulh theme. The theme is also about turning the page back to remember where we've come from, and to remember that Indigenous people and culture are always evolving. The colours and shapes are inspired by woven patterns in the blankets as well as the surrounding trees and facilities.

The house design-split-eagle-box represents everything negative and positive, balancing negative/positive spaces, and opening up with the guidance of eagle reveals the movement of spirit bringing healing and nourishment to soul. 

For this piece Corey Bulpitt played off of the Haida crest system, in which different families are represented by animals crests, to adorn the iconic Downtown Eastside location, with formline Pigeons. He sees them as the unofficial crest of both urban indigenous non-indigenous residents of the DTES.

KC Hall seamlessly merges his North Coast Formline style with contemporary abstract, manga, and Graffiti visuals to form a distinct artistic vision that is totally his own. Bright colours, shapes, and gradients overlap as the hard black lines of graffiti and formline weave in and out of each other. His graffiti background also allows the artist to work incredibly quickly. This was painted over the course of only a few days.

This mural is painted on two cement pillars of the Granville Street Bridge near the Public Market on Granville Island. They wrap around the 20 ft diameter pillars and measure over 44 ft in height. The piece serves as a vibrant landmark to the incredible resurgence of Coast Salish weaving and culture, of which Debra is at the forefront.

These two artists have been collaborating on artworks for the last few years. They have been amalgamating their styles together to find a balance of approaches and techniques. This is their first full mural together. The wall’s particular shape reminded James of a long house. Traditionally, a long house is a place of gathering, sharing food and stories, so they wanted to use this space to tell a story from Lauren’s (Haitian/Japanese) background and put a Salish twist on it.