Contemporary & Traditional Indigenous Art

In the liminal space between reverb-drenched chords and ancestral memory lies the music of Black Belt Eagle Scout. Here, Katherine "KP" Paul, of Swinomish, weaves sonic tapestries that blur the boundaries between personal narrative and ancient heritage. Her latest offering, The Land, The Water, The Sky, emerges not merely as a collection of songs but as a cartography of homecoming—each note mapping the sacred geography of return.

Marcus Joe is a highly skilled self-taught artist/muralist/hip hop artist from the Swinomish Tribe who has painted murals; participated in art exhibitions and performed music live around the Pacific Northwest.

Shana Yellow Calf, of 10 Buffalos Art, is an enrolled member of the Northern Arapaho in Wyoming. Shana has been producing captivating art in various mediums since the 1990s, blending her rich plains heritage - Arapaho/Shoshone, her mother's Chippewa/Metis ancestry, and the Pacific Northwest Coastal influence from the Puget Sound area of Washington where she grew up

Savannah LeCornu is a self-taught artist from Ketchikan Alaska. She is Tsimshian, Haida, Nez Perce and Nimiipuu. She works in formline and plateau art styles and strives to create accessible art that celebrates her tribes, her family and indigenous peoples

Jason LaClair, a lifelong resident of Whatcom County, draws from his Lummi and Nooksack heritage to create art that resonates deeply with Indigenous traditions and modern aesthetics.

Alison O. Marks (née Bremner) is a Alison Bremner (b. 1980), a Tlingit artist from Yakutat in Southeast Alaska, of the Raven moiety (Sex̱’náx̱ clan). Raised between Tlingit and non-Native worlds, her work reflects a sharply observant, often humorous engagement with the complexities of contemporary Indigenous identity, cultural continuity, and representation.

Marvin Oliver (1946–2019) was a Seattle-based artist of Quinault Indian Nation and Isleta Pueblo heritage, widely recognized as a leading figure in contemporary Native American art. Working across cedar, bronze, glass, steel, and print media, Oliver developed a distinctive visual language grounded in Northwest Coast formline design while expanding its possibilities through modern materials and interdisciplinary practice.