~Lower Elwha~

Tribal Name, “Wenanua” (Likes to war)

Al was born on May 6, 1972.  He comes from a long line of carvers in his family, most notably, his grandfather, Foster Charles.  Al started carving at 14, carving plaques, bowls, and paddles.  In 1993, at the age of 20, Al carved a 36’ canoe named “Elwha Warrior”.  More recently, he was a force on the carving of the ocean going canoe, “Spirit of Elwha”, which was the canoe used in the Paddle Journey in 2002 - 2003.  Al has participated in the Paddle Journey since the late 80’s.  He has worked with many different tribes on many different projects, including a totem pole at the age of 22.  Al has worked with wood all of his carving days, but in 2001 he started working with silver and more recently gold.

Al has apprenticed with many renowned artists such as, Dale James, Ritchie Baker, Dwayne Pasco, and Richard Mike.


Alfred was born in 1950 and is from Chemainus BC.  He started carving in 1991 and was instructed by Tommy Paul, who is also his inspiration.  Alfred enjoys carving plaques and bowls.  He is also a fisherman by trade.


Andy was born in 1955 in Shelton Washington.  He is a member of the Skokomish Tribe and has lived on the Skokomish reservation all of his life.  As a child he was born and raised in a wealth of culture.  Andy’s parents, (Arlene and Bert Wilber), Grandfather (Andrew Peterson), Uncle (Peter Peterson) and his Great Aunt (Bertha Allen), just to name a few, all played a major role in his life.

While growing up, Andy’s grandfather and his dad were two of the biggest influences in his life and they both gave him so much; his grandfather gave him dignity, honor, and a promise for his future.  His dad (Bert, who was also born and raised and continues to live in the old traditional ways), taught him everything from fishing, hunting, and preserving foods to carving, legends and history.  Together, his parents and grandfather gave him the structure needed to develop and enhance his life within his culture.

In his early twenties, he was reintroduced to his great-aunt (Bertha).  Bertha was the daughter of Henry Allen, who was a carver and an informant for an extensive anthropological study of the Skokomish Twana people.  Bertha taught Andy so many things about his family and his culture and she also gave him the insight of living a traditional life style.  She became so much more to Andy then just an aunt; she also became his grandma and his friend and his mentor.  At the request of his grandfather and being the fourth generation of the dignified name, Andy recently changed his name back to his birth name Andrew Peter Peterson.

He now looks forward to his grandson and namesake, Thomas Andrew Peterson-BlueBird to carry on the Skokomish traditions of their culture, and maybe he too will become a carver and carry on the legacy of Andrew Wilbur-Peterson.

Andy would like to end his bio with Special Thanks and a Debt of gratitude to the following; his Mom, Dad, Grandfather, Aunt Bertha, Creator and Spirit Helpers for always being there for him.


Anita Infelise is the daughter of Jamestown Tribal Member and respected Elder, Janet Duncan.  She is from the Ellis-Becker family.

Anita restarted ceramics as a hobby in 1993 recalling the enjoyment it gave her as a young teen.  Her interest, she found, leaned toward the wildlife so important to the S’Klallam Tribe.



Makah, Wyaatch Village

Wade Greene has been an artist since 1994.  All his designs and carvings are self-inspired and self-taught.  Over the years, Wade has created his own style and techniques.  Out of curiosity for his rich culture, he explored his artistic side and learned how to make and design drums.  He then became interested in carving paddles, rattles, and masks out of cedar.

As his skills developed, his projects became larger in scale with greater detail.  Wade’s designs and carvings know no limitations or boundaries but he stays within the laws of the Northwest Coast arts.  Each piece of art work he creates is inspired from within.  He takes great pride in each piece he creates: large, small, simple, or detailed, for use or for show, each one is respected.


Quileute Tribe

I have been weaving baskets for about 8 years.  My baskets are a reflection of many different teachers combined with my vision of basketry.  I love Native American baskets and enjoy seeing the unique style of each weaver.

Throughout the years, elders have passed along their comments about my weaving and I always appreciate their advice.  I know I still need to learn.  Weaving is a beautiful art that I am happy to be able to do.  It is skill handed down generation after generation.

I am from the Penn family.  I am married with 3 children and 2 dogs.  Weaving, baking, reading and berry picking are my hobbies.  I enjoy traveling in the summers to stick games around the Northwest region.


Dale Faulstich, Designer and Lead Carver for the Jamestown Totem Poles, has lived and worked on the Northwest coast since 1972.  In addition to ongoing projects and classes for the Tribe, Dale continues his own contemporary applications of Northwest style.  He has created masks, steam bent boxes, animal form bowls, rattles, drums, and ceremonial objects, as well as carved doors, wall panels, furniture, fine art prints, sculpture and other contemporary applications which can be found in many private and corporate collections across the U.S.  His work is shown at Northwest Native Expressions Gallery in Sequim, Washington; Stonington Gallery at Pioneer Square in Seattle; and Pacific Traditions Gallery in Port Townsend.

~Coast Salish - Lyackson~

Daniel Arthur Max Dick is a member of the Penelakut band on Kuper Island and has been carving since 2000.  Daniel is the nephew and protoge of Leonard Sylvester, of the Penelakut branch of the Coast Salish Tribe, who has been active in teaching, supporting and promoting his work.

Daniel’s carvings reflect his strong Coast Salish heritage and his pieces include plaques, three-dimensional masks, boxes, and bowls for commercial and ceremonial use.  His work is featured in galleries in Vancouver and Victoria, B.C., Texas, and locally at the Jamestown S’Klallam Tribal galleries, Northwest Native Expressions, in Sequim, WA.


~Skokomish, Coast Salish~

Dennis Allen is a member of the Skokomish (Twana) Tribe.  He was born in Shelton Washington, in 1935.  He is the son of William Allen and Rosie Pulsifer (Allen).  His Grandfather, Henry Allen was one of the last carvers on the Skokomish Reservation, and was also one of the major informants for an extensive anthropology study of the Twana (Skokomish) people.

Dennis has lived on the Skokomish Reservation all of his life.  At the age of seven his mother died, and he went to live with his Aunt for three years.  Then he was sent to boarding school for a year.  At the age of eleven he returned to the Skokomish Reservation to live with his Grandmother (Katie Pulsifer).  His Grandmother was blind, so he took on the role of being her provider and caregiver.  At an early age he learned how to hunt and fish, not only to provide food for himself and his Grandmother, he also learned how to give to other community members in need.  While living with his Grandmother, he was exposed to his culture in every aspect.  He was made to make baskets with different elders, prepare traditional foods, gather materials and medicines, listen to legends, and take part in canoe carving.  He was also raised around a community member that built boats, (which entailed steaming wood).  This was his first encounter with bending wood.

Throughout his adult life, Dennis was a logger and a fisherman, until he decided to become an artist.  For years he watched his son (Andy Wilbur), carve and paint, thinking he personally would never be able to accomplish making such beautiful art.  As time past, he watched Andy teach his wife and his daughter (Andrea) how to create Native American Art in many different forms and he became inspired to try some various graphic designs.  So Andy showed him a few different designs, and he took them home and worked on them and made some changes and brought them back to show Andy.  At that point he decided to learn how to make steam-bent boxes and rums and started grafting on designs and painting them.  After being involved in different art forms for years, he decided to expand his art career and start carving.

Dennis has won awards on his different art pieces, and has his artwork featured in galleries in several different States.  He has developed his own style to coincide with the many legends that have been past down to him.  He creates from his heart, and enjoys every piece that he creates.  He looks forward to expanding his career in many different mediums and dimensions.  He continues to be an active community member and feels honored to take part of the revival of the Salish Art.


Born in 1961 in Vancouver, Washington, Dwayne Northup lived with his parents, grandmother, and great-grandmother on the family homestead between Klalock and the Quinault Indian Reservation.  His great-grandfather, George Northup (English), was active in Indian politics and held an Honorary Chief status among the Queet’s Indians.

Dwayne’s father, Darryl (English-Irish-Blackfoot) and mother, Alberta (Aztec-Mexican Indian) moved the family to Neah Bay, Washington (the Makah Reservation) in 1972, where Darryl became pastor of one of the village churches.  The school in Neah Bay was Dwayne’s first experience with cultural art.  He learned language, beadwork, and basket weaving from renowned Makah elders, Helen Peterson and Nora Barker.

In 1995, Dwayne moved his family to Sequim, Washington and began working in a variety of mediums, in search of his own artistic identity.  Influenced by Northwest Coast and Makah art, but not tribally affiliated, Dwayne did not want to capitalize on the popularity of traditional Northwest Coast art forms.  Instead, Dwayne asked The Great Spirit for something that he could call his own, while still paying respect to the cultures that had influenced his life.  The result of that prayer were dreams showing him how to create a three dimensional, free standing, anatomically correct monument, hand sculpted out of rawhide (deer and elk).  Dwayne’s first pieces were heralded as some of the most innovative art forms to be seen in years, by gallery owners and collectors, alike.

Today, Dwayne’s sculptures require hundreds of hours of research and background on tribal customs, costumes and regalia.  He also collaborates with Makah carver, Micah Vogel, on frontlets and masks for his sculptures.  Dwayne has learned cedar rope making and weaving techniques from Vicki Pillati (Makah), and cedar bark hat making from renowned Jamestown-S’Klallam storyteller, Elaine Grinnell.
Dwayne’s art has been purchased by many private collectors, but his best credit to date is the purchase of a “Makah Whaler” by the Makah Tribal Council for permanent display in the Makah Museum and Research Center, Neah Bay, Washington.


Frank Charlie is a member of the Penelakut Band of the Coast Salish people.  He was born October 28, 1949 on the Kuper Island Reserve off the east coast of Vancouver Island where he still resides.

Taught by Glen Edwards, a master carver from Chemainus, Frank comes by his artistic talent naturally.  His grandfather, Charlie Edwards, was well known as a carver of West Coast Long Masks and Walking Sticks for ceremonial usage by the Penelakut’s.  Frank Charlie carries on this heritage as a Mask Dancer today.

The knitting of Cowichan sweaters has also been a part of Frank’s family.  Up until two years ago, this is how Frank supported his family, winning awards for his design and workmanship.  Today he is engaged full time as a carver with his work on view in galleries both in British Columbia and the State of Washington.


Gary Buckman was born on the Pine Ridge Indian Reservation, South Dakota and raised at the Wounded Knee, (Chunkpe Opi) - Oglala Lakota.  He has been a full time artist for 20 years, inspired by his cultural heritage and background.  He now lives in the Northwest and enjoys hiking and the natural beauty of the area.


Much of my life and career has been spent in Alaska.  In 1975 I married a fine young woman of Tlingit ancestry.  She is a member of the Eagle moiety.  In keeping with tradition, I was adopted into the opposite moiety, the Raven, and given the name “Yaana Gut Yehih.”  This means “Walking Raven.”  This was one of the proudest moments of my life and I feel honored to be numbered among the Kaach.adi clan of Kake, Alaska.

My association with this culture and the years I lived in the village of Kake left an indelible impression.  The proud traditions of the ancient Northwest Coast artists invited and challenged me to create images of my own that married my background in landscape and wildlife techniques to my new interest in Northwest Coast design.  This is a most exciting direction for my art.  By God’s grace and the support of my family, friends, and collectors.  I look forward to many more creative years.  Thank you all!


~Makah Artist~

Greg Colfax was trained as an educator and in creative writing, with degrees from both Western Washington University and the University of Washington.  He has taught both in the Native American Studies program at Evergreen State College and in elementary and high school at Neah Bay.  He began his training as a carver in 1978 under Art Thompson, George David, Steve Brown, and Loren White.  He has been described as an “artist, fisherman, canoe company manager, poet, and philosopher”.  Two of his pieces were included in the traveling exhibition “Lost and Found Traditions,” a drum, and an innovative bentwood whaler’s box that was featured on the cover of the exhibition catalogue.

In 1985 a twelve-foot figure of a woman drumming was carved by Colfax for the Native American Studies Program at Evergreen State College in Olympia where it now stands.  In addition, Colfax was recently commissioned by the city of Tukwila to produce a fifty-foot carved and painted cedar mural as a public art project for Tukwila City Hall.  Colfax has researched the collections at the Burke Museum, Royal British Columbia Museums, and the Makah elders about the meaning and uses of art objects and utensils.  Today he is considered a master carver in Neah Bay, working with apprentices.  In addition to his Many commissions for original carvings, Colfax also restores old pieces.


~Jamestown S’Klallam~

Janet Duncan is a Jamestown S’Klallam Tribal Member and respected Elder.  She is from the Ellis-Becker family and was born at the old Sequim Hospital in 1937.  In her adult life Janet had a strong desire to introduce her grandson to his American Native culture and she began volunteering at various Tribal activities.  She also gave of her time to the Jamestown Children’s Program and this is where a passion for beadwork was born.  She learned from a fellow Tribal Member at the age of 48.  Janet’s enthusiasm for the art is infectious and she continues to give much of her time helping others learn the art of beading.


~Jamestown S’Klallam Tribal Artist~

Jeff began his career as an artist about 15 years ago Carving came naturally to him.  His biggest influence on his artistry is Roger Fernandez from the Lower Elwha.  “He taught me how free you can be with your work,” Jeff says.  “And he got me started on working with Salish design.  With Salish design you work with three shapes, a circle, a triangle and a crescent.  You don’t know what you will come up with until you start to carve.  It’s also more indigenous to this area. “Jeff says.  “This is a tradition I’m carrying on. When people look at my work, I’d like them to think that this is what people were doing 500, 600, even 700 years ago.  I’d like my brand-new pieces to look as if they’ve been around for hundreds of years.”



John was born in 1948 at Neah Bay, Washington.  He is a member of the southernmost group of Nootka Indians known as the Makah.  A notable contemporary Indian artist, John maintains an active and successful career using canvas, deer hide (drums), wood (bent boxes) and silver.  John also designs button blankets and produces silk screen prints in limited editions.  A main source for inspiration for John has been teachings provided through oral history about the legends and mythology of his tribe and clan.  His work is a reflection of this culture and tradition.  John often signs his work “Ny-Tom”), the ceremonial name by which he is known.


Judy Lynn Cathers was born in Forks, Washington, in 1956.  Hi-ti’ba’suk is my Indian name.  I am a Ho River tribal member, also the smallest tribe located on the west coast of the Olympic Peninsula next to the Ho Rain Forest.

I began weaving around 8 years old when we were living in La Push, Washington.  I was also fortunate to be able to weave with several elderly, west coast Canadian weavers in my early 20’s.

My baskets consist of mostly the inner bark of cedar (which we harvest in the spring), raffia and bear grass (also Harvested in the spring).  I try to incorporate the traditional colors and designs of the west coast in all of my baskets, mostly whales, ducks, and canoes.

It takes many hours to reach the finished product of baskets, depending on the size.  For example, a small basket takes approximately 4 hours tro achieve the finished product.



Woven into the fiber of each weaving, a timeless tradition continues from generation to generation through June Parker.  “My grandmother taught me how to weave when I was very young - about when I was six years old.  I would have to weave a basket before I could go out to play.”  June Parker has now been weaving professionally for twelve years.

June Parker’s aunt, Fran James, a prominent Lummi weaver, has had a great influence on June’s weaving.  Fran’s guidance and instruction in various weaving techniques has helped in the success of June’s skills.

June’s talents are many.  Her works include beautiful baskets, some with perfectly fitted lids, others with fur-lined bottoms: traditionally shaped cedar hats ornamented with beads, feathers, ermine skins, and delicate cedar fringe: woven dolls with human hair; and functional items such as woven hand bags with Pendleton blanket cloth.  June relies on inspiration, knowledge, and meticulous skill to produce patterns and design for her works.



Born in 1961 and raised in California, Kevin is a Makah artist who returned to Neah Bay in 1981 to carve in the traditional style of the Makah peoples at the request of his mother, Beverly Daniels, who is of Makah and Quileute descent, and his brother Ben, a carver.

Kevin’s first teacher was his father, Eulieo, who has been a carver in the Philippines.  While in California, Kevin worked primarily with redwood and driftwood. He also painted abstract paintings in acrylics, inspired by the coastline waters.  It was his brother Ben who taught Kevin to carve in the traditional ways of the Makah peoples.

Upon his return to Neah Bay, Kevin worked under the guidance of Greg Colfax, a noted Makah artist, and his brother, Eddie, a carver of totem poles.  Drawing inspiration from the oral history of his peoples, Kevin has worked full time as an artist and fisherman since returning to Neah Bay.

His main inspiration has come from the winged ones -ravens and eagle - who speak to each other.  In his art, Kevin keeps the heritage and traditions of his family alive.  Many of his family were and are artists.  His grant grandfather, Landis Calappa, was a woodcarver and a whaler.  Kevin’s great-great grandfather was Joseph Calappa, a Shaman who read the futures.  He was of the thunderbird, whale, and wolf clan.  Most of his visions came from the dark side of the raven - the trickster.  Besides Kevin’s two brothers, Mitchell and Bennie, his two nephews, David and Ryce  are working as carvers today.

Through his travels, Kevin has come in contact with other native peoples, learning their spiritual songs and the drum designs unique to these peoples.  The designs that Kevin paints on his drums are all one of a kind, reflecting modern tribalism.

In his carvings and drums, Kevin has developed his own colorful style.  Greens and blues excite his mind.  His work is filled with the colors of grandfather’s sky, particularly the night sky, and mother earth.  The four directions - the keepers of the good spirits - are always incorporated into his work.

Kevin’s art can be found in many private collections on the east coast, and in galleries up and down the west coast.


~Crow & Irish Descent~

Kim Elkins was born in Oregon, and resides now in Washington State where she creates her very original works of art, her dolls are always done by hand.

Kim’s imagination and her dreams create every piece of art.  Each one is magical in the sense that they seem to possess healing qualities.

All of Kim’s work comes from her heart.  Her work is featured at galleries at the Jamestown S’Klallam Tribal galleries, Northwest Native Expressions, in Sequim, and Port Townsend WA.

Leonard Sylvester was born on July 4th 1948.  Carving since he was 17, Len was influenced by Norman John, a well known west coast carver, Simon Charlie, a famous coast Salish carver, and Chief Dan George.  Len remembers that, when he was 17 and knowing nothing of carving, he visited Dan George at the Burrard reserve.  Chief George sent him away with a knife and a seasoned piece of wood.  Len returned with a carved Halibut, and a friendship ensured that endured to Dan George’s death.

Now, Len commits his time to his art and the teaching of it to his people of the Penelakut Band.  His preferred wood to use is yellow cedar but has been known to use red cedar upon special requests.  His specialties include disks and cedar boxes.

Len has his work in England, Australia, Germany, New Zealand, and the continental United States.  He focuses on carving the indigenous animals of the Northwest coast in the style that he has developed from his contact with a wide variety of artists as well as his own personal creative perspective.


Indian art artist

Spirit name: Illaya

I am a novice beader and carver.  I was introduced to this art form in Hawaii in 1971, when I was a metal sculptor; I have been carving on bone since 1974.  My passion for beads truly began in 1992 in Port Townsend.  It has only been since 1998 that I began to carve Indian artifacts, when I was honored to be a caregiver for my adopted parents.  My inspiration for form and detail came from input from my mom & dad.  My hands may have carved these pieces but their spirits reside in them.  My bloodline is Blackfoot of Montana.  I am currently on a search for those roots.



Manuel is a member of the First National Cowichan Band affiliation of the Cowichan Valley, Duncan, B.C.  At the young age of twenty-three, Manuel discovered a strong desire to distribute fine Salish arts and crafts.

Manuel has entered his art pieces into various art shows.  To his talent was awarded second place in a province-wide art contest sponsored by Cowichan Native Heritage Centre in Duncan, which took place in the winter of 1991.  Also to his talent was awarded second place and an honorable mention in the 1992 Annual Spring Art Show & Sale, sponsored by the Cowichan Valley Arts Council.

Manuel is presently in the process of designing and painting traditionally hand crafted drums (using acrylics), and producing fine limited edition prints.  He spent the summer of 1993 at the Native Heritage Centre, concentrating on these original designs and drum painting.  Manuel has had artistic learning experiences with well known artists who have helped to guide his talent.  He has apprenticed with Delmar Johnny and Art Vickers and is inspired by Simon Charlie and Robert Davidson.  He is soon to be apprenticed by Art Thompson.

Blending traditional Salish elements with bright contemporary graphics, Manuel will continue to expand and develop his talent as a Salish artist.


Snohomish Tribe of Indians

Marlene Hanson was born and raised in Seattle, Washington and has lived on the Olympic Peninsula for forty seven years.  When she started working for the Jamestown S’Klallam Tribe in 1992 she began beading earrings and now her specialty is beaded medicine bags.  A meaningful item is placed in some of her bags for the owners.

Because of her Coast Salish heritage she likes to make Eagles and Orcas which are seen in the skies and the waters of the Olympic Peninsula and are carved on totem poles.


~Quinault/Isleta Pueblo~

Drawing from his Quinault heritage, Marvin Oliver has been exploring traditional Coast Salish design using innovative media of paper, wood, cast bronze, and most recently, glass sculpture.  His works carry the traditional art of the Northwest Coast into contemporary imagery.  Marvin’s works are widely collected and commissioned both nationally and internationally.  In 1988, Marvin received one of the highest national honors:  a $15,000 National Endowment for the Arts Fellowship in sculpture.  Recent commissions include a 16-foot sculpture of bronze and glass for the Columbia City Library in Seattle and a 30-foot bronze sculpture, in the form of a dorsal fin of an orca, titled Spirit of Our Youth for the Central District of Seattle.  Marvin is also an instructor at the University of Washington in two-dimensional art and wood design.

Marvin Oliver’s limited edition serigraphs are silkscreened by Marvin on 100% cotton Stonehenge paper with a four sided deckle edge.  The embossing is accomplished by means of an acid etched magnesium plate or a hand engraved brass plate and then machine pressed under heat and high pressure.  The blue shadow, visible in the embossed image, is a foil that is placed over the plate during the initial press.

His work has been exhibited internationally and commissioned pieces are owned by both the Seattle Arts and Washington State Arts Commissions, Neutrogena Corporation in New York, and Daybreak Star Center in Seattle.

Oliver has worked for the Washington State Centennial Celebration, assisting tribal members to carve traditional canoes by teaching carving techniques and the making of traditional carving tools.  In addition to the sculpture for the Masterpiece Gallery, Oliver was commissioned by the Burke Museum to produce several hands-on objects - a Salish loom, wooden bowls, spoons, and tools - for inclusion in the western Washington cedar plank house in the exhibit,  A Time of Gathering.


Makah artist from the village of Wa-atch.  I was born on an important day in Nuu-chah-Nulth culture, the Winter Solstice, which is known as the rebirth of the seasons.  I am currently the Secretary/Treasurer of the Makah Whaling Commission and have been working alongside master artist Greg Colfax.  I draw inspiration from the richness of Makah culture and the majesty of family histories.  As I continue to learn more, my work takes on deeper sentiment.  I am careful to honor the life of our work.  Native art is the manifestation of the living breath of our ancestors.  This is an important factor in the Native American experience.


~Penelakut Tribe~ 

From:  Kuper Island, B.C. I am a survivor of the Kuper Island Residential School and from that I have no formal education as per say but I am proud of my teachings from my grandparents who raised me until I was taken away from them and put into the boarding school.

With many goals and one is to carve and the other is to speak our Native language.  I have no work but my carvings are my income and also being on the right path to wellness and health for myself and also for my wife.  I am self - taught and that is an accomplishment I work hard at in knowing I will improve in my carvings and art work on the carvings.

In sharing this I wish you the best and safe journey from where you travelled and should you want more carvings leave a message and someone will get in contact with me.  Again thank you.

Monty & Antoinette Charlie


Phillip Harner is a lifelong resident of western Washington.  He was born in Aberdeen and lived much of his childhood in rustic settings such as fire lookouts.  He has a deep appreciation for the outdoors and chose a career in the forest industry.  Phillip’s grandmother was half S’Klallam.  In October 1954 Phillip joined the tribe as a member.  For the past ten years he has honed his wood working skills.  He takes advantage of his knowledge of natural materials and appreciation for the beauty of the Pacific Northwest and combines them in his own interpretive style.  He is proud to support the S’Klallam community.


Roger Fernandes is a Native American artist whose work reflects the culture and beliefs of the Puget Sound Salish tribes.  He is an enrolled member of the Lower Elwha Band of S’Klallam Indians and was born and raised in Seattle.  He studied art and graphic design at the University of Washington, and has been a free ‘lance artist for over 15 years.

His art is a blending of traditional and contemporary images that presents his visions of Salish spirituality and culture.  He worked in a variety of mediums including drawing, painting, printmaking, and photography.  His works have been purchased by individual collectors worldwide and by public arts organizations in this region.



Spencer McCarty holds strong to his Makah culture through his inspiring artwork.  He believes, “we as a people will hold strong to the history given us even though the world we live in has changed so much.  We will continue to keep our culture intact to pass our heritage on to our children.”

All of Spencer’s artistic creations are traditional pieces within the Makah culture.  Among his most fascinating pieces are his “Friendship Mask”, “Ancestral Mask”, and “Hamatsa Raven Mask”.  These images carved from Pacific Coast cedar evoke a presence of the timelessness of ancient ceremonies and rituals.

McCarty’s beautiful hand painted form line drums resound the strong beat of his Makah heritage.  Traditional crest figures carved on his rattles and whistles also acknowledge this influence.

Inspired and taught by Art Thompson and Greg Colfax, the art of Spencer McCarty is both precise and innovative.


Yukie was born in Hokkaido, Japan.  In 1984 she married Henry Adams (Alaskan Tlingit).

Since Yukie married into an Alaskan Tlingit family and became part of the Tlingit culture, she has made a study of the native arts on the Northwest Coast and began creating designs for Paintings, Serigraphs, Prints, and Drums.

After her husband Henry Adams (wood carver) passed away she started carvings and Mixed Medias.  The modernism and the Traditionalism is a unique identity of her works.

1969 - 1970, she studied Art history and oil painting at the Musashion art college.

1983, she moved to Anchorage, Alaska.

1984, she married Alaska Tlingit, Henry L. Adams.

1987, she studied The Northwest Coast Native Arts and Culture as a new member of Tlingit family.

1988, she was chosen for a purchase award at the 3rd annual Southeast Alaska Native Art Exhibit in Sitka, Alaska.

1989, she moved to Washington State.

1990, she studied the Northwest coast Indian Design at University of Washington, under Marvin Olivier.

Since1991, she has been creating silkscreen prints, paintings and designs.

Since 1994, after her husband Henry Adams (woodcarver) passed away she started the woodcarving.

1996 Mr. & Mrs. Blackman (Argosy cruse), Seattle. ~Wood Carving~

Mr. & Mrs. Iso, Japan. ~Mixed media Wood Carving~

1997 Water Department of Seattle, ~Wood Carving~ (Seattle art commission).

Ekstein Middle School, Seattle.  ~Carved Wooden Paddle~

Mr. Korry, Seattle. ~Painted Wooden Paddle~

1998 Mr. & Mrs. Conn, Portland, OR.  ~Wood Carving~