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@sydney.f.pascal

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Lil’wat + concoction of other things

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[Link in bio]: Located in downtown Vancouver, the Bill Reid Gallery is dedicated to the cultural presentation and curation of Indigenous Northwest Coast art. It is home to a permanent exhibition featuring artworks by X̱aayda (Haida) artist and jeweller Bill Reid, as well as seasonal exhibitions located on the main floor and in the mezzanine. Currently, the gallery has two seasonal exhibitions running: the first, Cradled Origins in the mezzanine, featuring emerging to mid-career First Nations artists, and the main floor showcasing Every River Has a Mouth, a reflection and celebration of contemporary Coastal and Interior Salish art.

In the main hall, the artwork from Every River Has a Mouth intermingled with the permanent exhibit works. However, they are distinguished by their form. The permanent exhibit mainly features jewelry, prints, and sculptures in the X̱aayda style (distinguished from other Indigenous artwork through its use of a black slate material, Argillite), captured within tree trunk cases. The artists featured in Every River Has a Mouth have created different types of works, including short films, fashion and textile, woodwork and sculpture, and paintings. Each of the 11 artists are from different Coastal and Interior Salish Nations, with diverse cultural and artistic backgrounds.

Something that this exhibition made clear to me was its goal to subvert dated stereotypical views on what Salish and Indigenous art should look like. The exhibition poses to the audience a question: “What is Salish art?”

✏️: Clara Xu, Peak Associate
📷: Ali Imran / The Peak

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Recent work for Arc'teryx, capturing @sydney.f.pascal through her process of creating three elk drums for the new Whistler store 💛✨

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Harriet the sheep farmer

Great grandma

Celebrating🌸🪻

Syds design 🥹

Basket weaving in mount Currie

Basket vision

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What an inspirational event!

Here are some highlights from Emily Carr University’s first panel conversation of the fall.

“Weaving Conversations: Stories, Teachings, and Tradition” with Chief Dr. Janice George, Skwetsimeltxw Willard “Buddy” Joseph, and Sam Seward.
Moderated by Angela Paul
@aboriginalgatheringplace

Together, these artists shared beauty-full, soul-enriching stories, teachings, and experiences connected to Coast Salish wool weaving, cultural knowledge, and the importance of carrying these practices forward.

Thank you!

#PublicConversation #PublicDialogue #Weaving #CoastSalish

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This weekend, we celebrated the start of a new chapter in the heart of Whistler Village with one-of-a-kind art, storytellers and local vendors.

Thank you to everyone who joined us from near and far to explore our unique interior, visited our Sea to Sky ReBIRD Service Centre and marked their gear with our limited-run custom WHISTLER heat transfer, designed by Sydney Pascal titled ‘Mountain Woman’:

“She is a recollection of the past, inspired by pictographs from the land and those of my own creation, as well as a representation of cultural practices and stories. Holding a berry basket in her arms, the face of an owl, the footprints of a grizzly. These are markings of our ancestors, and I wanted to bring them into this space to witness the world we live in.”

This space represents more than a store. It is a place to connect and find inspiration in the mountains and territories that shape this region.

We’re proud to feature unique artworks throughout the location by Sydney Pascal (@sydney.f.pascal), Dalyn Berryman (@dalynsart), Tanina Rose Williams (@taninawilliams), Allison Burns Josephs, and Jim Charlie.

Thank you to all vendors that made the weekend possible, and to our incredible Arc’teryx Whistler team.

💐 @happilifepemberton
🍴@harvestchefsociety
🔊 @jadesntos & @djkookum
☕️ @mountcurriecoffee
🍵 @___onkei
🥤@dentvilledrinks
🥂@drinkingwithdani
🥐@purebread_canada & @foxandoakcraft

📸: @miraecampbell

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Thank you all for coming all the way from the city.

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Lil’wat Nation artist Sydney Pascal (@sydney.f.pascal) creates elk hide drum pieces commissioned for our Whistler relocation, opening this Saturday.

Using land-based materials, Sydney creates something new while referencing what has always been.

Sydney explains:
“The pictographs on these drums represent different clans, stories and a segment of a Líl̓wat map of Ncwicwílten—Whistler area— and the surrounding landscape. As I create work about home, referencing maps of paths and places where we had been on the territory has not only been a way for me to bring forward our historical symbols, but emphasize my family and community’s connection to the land as Líl̓wat people.

I want to show people that traditional material processes such as hide tanning still exist; a process that ended up evolving my art practice entirely. I hope the drums can bring a sense of curiosity to the viewer no matter their interpretation.”

See Sydney’s work in-person at our Whistler Grand Re-Opening on September 19. Link in bio for full event details.

📸🎥: Kimberly Ronning (@_kimberlyr)

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Third year student Shelby Smith held a workshop in the AGP for jewelry-making this past spring! Using beads, shells & a variety of materials, students created their own unique pieces. From bracelets and necklaces to one-of-a-kind designs✨

Follow Shelby along her artistic journey at @shelbymakingstuff 🌸

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march film 💌

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As “We who have known tides” comes to an end this Monday, April 6, Camille Georgeson-Usher (@camilleusher), Audain Senior Curatorial Advisor on Indigenous Art, shares her closing thoughts on Room 5 of the exhibition.

Curator’s Notes | 6/6
Camille Georgeson-Usher on “We who have known tides”

“In the mist there is a softness that blurs edges, hiding depths so that we can only see what is directly in front of us. There is an all-encompassing feeling about being in a coastal environment on a day of dense fog or mist. It is perhaps a quiet weight that sags with a simultaneous heaviness and lightness that juxtapose one another.

Depending on how you enter the exhibition, this could either be the first room you find or the room that the exhibition closes with. It evokes that blurring quality of fog and the way that the moist density of air abstracts these landscapes.

Sydney Pascal’s quiet and contemplative work situates the viewer at the edge of the ocean on a misty day. Subtle sounds punctuate the heavy air: her voice comes through in certain moments; a raven seems to come out of nowhere from the fog. This piece speaks to love between generations of women in Sydney’s family and the quiet ongoing work of building and maintaining those relationships.

Speaking to the metaphor of fog I employed in this space, Laura Wee Láy Láq’s vessel echoes the blurred aesthetics that we see emerge from Sydney’s video. In the vessel, I saw a subtle landscape or shifting mountainous range, seeming to merge with the sky, while Raymond Boisjoly’s distortion of an image taken at Jericho Beach brings forward that sense of abstraction with subtle details of that oceanic fluidity emerging through.

In considering stories of the great flood, Bracken Hanuse Corlett writes:
‘Imagine the Planet. Wuwisdi. Only an ocean.
After the calamity. After the flood.
Take Notes.
Sideways into the river. Press Record.
A big push. And then a constant pull.
Running to the highest ground. To be tied down.
Our notes are scattered across the sky.
Visiting with the stars.’

In this space I wanted to consider what it would mean for the air to be flooded with liquid.”

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