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My artistic is deeply rooted in my King Island Inupiat heritage and cherished values. As a child, my grandmother enchanted me with stories of our island, while my relatives masterful stone carvings instilled in me a profound appreciation for design, technique, and the sanctity of materials. Immersed in the embrace of my family, I developed an unshakeable connection to a land of ice, snow, and the mighty walrus. Through mentorship and self-guided exploration, I have honed my skills, enabling me to create artwork that is both contemporary and deeply informed by the enduring values of my heritage.   My quest for knowledge initially led me to study the endangered craft of building replicas of 17th to 19th-century skin boats. This journey of discovery inspired me to redesign kayaks, crafting custom-fit vessels and supporting the preservation of traditional watercraft. Along the way, I documented my experiences through the creation of an Umiak build and an evocative documentary film called "Umiak Travels." Additionally, I established a Northwest Inupiat dance group, fostering intergenerational connections and offering a meaningful way to give back to the community, particularly our elders who had not experienced an Umiak since childhood.   Drawing upon ancient technologies and personal introspection, my current body of work delves into the profound themes associated with the people and places I hold dear. Climate justice, the plight of Missing and Murdered Indigenous Relatives, and the concept of Indigenous Futurities serve as recurring motifs in my art. It is my belief that artwork should reflect the known and familiar to the artist, and thus, I find it imperative to address contemporary issues and establish a symbiotic relationship with the materials I employ.   With a deep understanding of fisheries biology, salmon habitat restoration, and land-based work, I approach my artistic endeavors with a profound respect for the materials I use and the stories they carry. Historically, driftwood has held great significance, and I continue to work with this precious resource in a reverent manner. For example, my recent creation, "In Our Nature," is a life-size human figure carved from a single piece of cedar. Depicting scenes of BLM protests, the presence of organized labor, and equitable transit, including waterways, this contemporary masterpiece embodies the strength of history. In sourcing the material, I sought out locally fallen trees, establishing a powerful connection between our human experience and the wellbeing of our forests. Justice, for all beings, lies at the heart of this creation, as it looks toward a future where equality prevails.    Inspiration flows through my veins, nurtured by the vibrant networks I am part of and the reciprocity I hold dear. International Indigenous artist gatherings, Yehaw, and other such spaces fuel my creative endeavors. People often reach out to me seeking support in incorporating technical processes from arctic or subarctic cultures into their own works, a testament to the trust and respect I have earned within my community.

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