Welcome to “Artist Spotlight”, an ongoing blog series recognizing artists from a variety of communities.
Liquid Amber Tattoo & Art Collective would like to acknowledge that we operate on the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations. We are privileged to conduct a business that supports our livelihood on stolen land. As we reflect on what this means, we understand that the systemic oppression of Indigenous peoples continues today and we have a far way to go for true reconciliation. As a studio, we pledge to continue doing the work by educating ourselves, donating to and supporting Indigenous organizations, and using our platform to share stories of Indigenous artists.
The following interview is conducted and written by Peach, one of the team members here at Liquid Amber.
As a settler who lives and works on the land of the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations, I wanted to educate myself more on the place I call home. I also wanted to explore Haida and Coast Salish art, specifically how and where it intersects with tattooing (an industry I’ve been working in for years).
I took the opportunity to chat with two Indigenous artists who live and breathe Haida and Coast Salish art. More on those conversations later.
Tattooing was not at the forefront of what I understood to be a traditional form of Northwest Coastal Indigenous art. I’m more familiar with works of art displayed on jewelry, prints and carvings. In actual fact, I learned tattooing goes back generations among many Northwest Coastal Peoples. Specifically in Haida traditions, tattoos were a form of showing one's status amongst their communities and were worn to display lineage, clan, moiety and claims to fishing and hunting land.
Haida People with tattoos. Sketch by James G. Swan, 1879 ///// Chief Gitkun (Kitkun) with codfish chest tattoo, and salmon on lower arms. Left: A.P. Niblack photo. Right: J.G. Swan sketch.
These tattoos would most commonly be obtained through potlatches; an artist was hired by the chief, or person who held the potlatch, and tattoos would be gifted to those who had experienced an important event in their life; such as a death, marriage, status change or coming of age.
Haida communities had multiple forms of body modifications that would be used during potlatches. Pre contact with the Europeans, Haida used cutting of apertures for labrets, ear rings or pendants and nose ornaments as well as tattooing to signify important events.
European missionaries looked down upon the traditional practice of Indigenous communities, including tattooing. The Indian Act was put into place by the federal government in 1876. This forbade traditional practices such as potlatches, pow wows and the sun dance, all very special ceremonial events; consequently attempting to strip away the culture and traditions of the Northwest Coastal Peoples. This ban was only lifted in 1951.
Chief Gitkun (Kitkun) with codfish chest tattoo, and salmon on lower arms. Left: A.P. Niblack photo. Right: J.G. Swan sketch.
Because of the laws in the Indian Act, Northwest Coastal communities had to find a new way to display their stories. It is speculated that once the practice of tattooing was not allowed, using jewelry; bracelets, breast plates and necklaces became an alternative to continue displaying important events in one's life. With Europeans creating a larger access to Gold, Silver and Copper, these materials became a staple in Northwest Coastal cultural art.
Jewelry by Sage Paul
I had the opportunity to speak with Sage Paul, a Coast Salish artist from the Tsartlip community on Vancouver Island. We started by talking about her family and what keeping the tradition of their art meant to her?
Jewellery by Sage Paul
P - Thanks so much for talking with me today! Can you tell me a little about your lineage and how it has informed your desire to become an artist?
S- My dad (Chris Paul, a Coast Salish artist), and Grandparents, are from Tsartlip which is a first nations community on Vancouver Island. On my mom's side we are Hungarian. I grew up watching my dad do Coast Salish art, and used to love tracing his designs and just drawing over top of them. I remember the first time that they started letting me sketch with them. What they do is somebody will draw a shape and then pass it over to the next person and it keeps going around, and by the end it becomes a little design. Part of that is for fun but definitely art comes out of it.
P - Why is this form of art important to you?
S - Taking on this art form was about wanting to connect to family and the people I have lost, as well as keeping the art alive.
P - What do you know about tattooing in relation to Coast Salish traditions?
Art by Sage Paul
S- I’ve heard that Coast Salish people will [tattoo] a dot on the lower half of their leg when a significant event happens. So, eventually they may have [multiple]. A significant event might be a death, a coming of age, anything big in your life really [like] a wedding.
You know what's interesting? Before I found that out, I had a really good friend of mine pass away, and I had this stick and poke tattoo kit that I purchased. I said to myself you know what I feel like I need to do something with this.... So I put a dot on my hand and thought, wow that was cool I tattooed myself for the first time! And I know it's just a dot, nothing serious. But it felt super significant to me. And you know, I didn't even know that it was a part of my culture, so it was really neat to find out.
Sage Paul
After my conversation with Sage, I wanted to do a deeper dive into tattoo culture and how it intersects with Indigenous art. Gregory Wlliams, a tattoo artist from the Skedans clan of Haida Gwaii, took the time to chat with me about his journey to revitalizing the tradition of Haida tattoos.
P- Hi Gregory. I’m excited to jump in! Tell us about yourself and your artform.
G - I practice formline tattooing, which is a west coast art that ranges from Alaska to Seattle. Formline art is represented in the different nations along the west coast. I’ve been practicing formline art for about 22 years now actually. I had the amazing opportunity to go to a school in Ontario for tattooing, at the time it was the only one in Canada that you could get as an accredited course.
Tattoo by Gregory Williams (Gig) of Haida Inkk
P-Is there an important significance in the reason you do the art style that you do?
G- Being a Haida artist, making jewelry and studying formline on a daily basis is something that keeps me going and motivated. I just want to share as much as I can with the Haida people who are willing to listen and learn about art and music. I see a brighter future here for us (Haida Gwaii) and hopefully one day we will have a few dozen Haida tattoo artists because as it stands now, there are only three of us who are Haida in blood.
P- How do you feel about doing commissioned pieces for people who are not Haida themselves?
G- I want to be tactful with people but not to chase them away so that they can learn about not appropriating. If I don't feel that their intentions are right, I will try to mix say 80 or 90% realism and 10% Haida so I’m not stepping on anyone's toes.
Tattoo by Gregory Williams (Gig) of Haida Inkk
Actually, Germans study Haida Culture in school. I had a couple of people come over here from Germany to get a tattoo from me, they sent me books and paragraphs on why they want to get Haida art and what it means to them. They sold it to me, so to speak, [their] intentions seem very pure.
P- What are some of the significant factors about tattooing in your culture?
G- Back then, tattooing was about marking every situation you witnessed or every stage of life. How I look at it is I’m helping them get passed something with a tattoo. Taking a part of their soul and putting it on their skin to share with people. Heritage wise in our culture, we have two images that you follow, you are either a raven or an eagle. Each lineage has clans and each clan has crests. Only certain clans are allowed to get those specific designs.
Gregory Williams (Gig) of Haida Inkk
After spending hours doing my own research and talking to these wonderful artists, I've only explored the tip of the iceberg. If you are anything like me and go on weekly google deep dives, this is one I highly suggest diving into. I found out so much history, about not only the land we live on but the people who live here too. If I could take one thing away from this whole experience, it's to ask questions, don't let those curiosities sit in your mind, google it, ask and be quizzical. You never know what you will find out or who you will end up being connected with.
Here are some links to helpful resources I used for these interviews:
Lars Krutak - Tattoo Anthropologist
Haida Tattoo - The Bill Reid Gallery