Lokotah Sanborn

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TRIBAL AFFILIATION: Penobscot Descendant

MEDIUM: Diverse Arts

ARTIST STATEMENT
I utilize a variety of mediums in my work to challenge the colonial gaze that denies Wabanaki modernity. Through archival documents, photo, video, and audio I showcase Wabanaki history, contextualize Wabanaki present, and inspire our futurisms. My work exposes the byproducts of capitalist systems through themes of alienation and the surreal, foregrounded by the continued perseverance, hope, and adaptation of the Wabanaki people.

BIOGRAPHY
Lokotah Sanborn is an interdisciplinary artist of Penobscot descent. His art, which spans film, music, graphic design, and photography, celebrates the perseverance and power of the Wabanaki people amid ongoing resistance. Lokotah's art is informed by years of community organizing for Wabanaki land return, cultural continuity, and Tribal sovereignty.

Lokotah works for Sunlight Media Collective, an organization of indigenous and non-indigenous media makers documenting stories at the intersection of Wabanaki rights and environmental justice.

He is a Tribally-certified artisan by the Penobscot Nation under the Indian Arts and Crafts Act.

 

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David Lonebear Sanipass

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TRIBAL AFFILIATION: Mi’kmaq

MEDIUM: Painting; Jewelry; Woodwork

ARTIST STATEMENT
My name is David Lonebear Sanipass, I grew up in northern Maine. I am from the Mi’kmaq Nation. I am a carver, make flutes, I paint and sketch. As an artist you want to be able to represent your art. I find the best way is to be able to talk about what it means. Some of what I do is so intricate you’re not really looking at what it means. The representation has been lost through interpretation. Part of the beauty isn't appreciated because it doesn’t speak to you. We have found a way for my art to speak with you, to come from my spirit, so it can be better appreciated and you will know more where I am coming from.

 

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Cassandra Sesin

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Pottery, Leatherwork

ARTIST STATEMENT
I am a born and raised Passamaquoddy woman who grew up immersed in Maine’s natural beauty and rich culture. I am a mom to 4 amazing children who are my world. I find peace and The Lord exploring Maine’s majestic outdoors with some of my favorite things being scouting for eagle feathers, exploring the beautiful rocky coastline and soaking up the much waited summer sun. Growing up as a Passamaquoddy child I relish memories of collecting sea glass at Split Rock with my grandmother, picking sweet grass with my mom at Sipayik, harvesting blueberries with my siblings in Downeast Maine and fishing in the Passamaquoddy Bay with my dad.

My passion for making was born out of watching my mom create with her hands; from dresses to yummy food to beading I have always wanted to follow in her footsteps. As a proud Passamaquoddy woman I am grateful to be able to share my culture and heritage through leather and clay. My work reflects the many influences I’ve had and is a collective of Maine indigenous culture. I am drawn towards creating pieces that reflect God’s creation and my heritage. For example, my Hazel bag takes a traditional Passamaquoddy medicine bag and transforms it for modern day use. Each bag is hand crafted and tells a story. My signature Nisuwok Wiphunsisok (Two Feather) mug, is glazed with copper and turquoise, symbolic of my love for turquoise jewelry and my heart to support fellow indigenous artisans. I find working with both leather and clay healing and therapeutic; using my hands and reconnecting with the earth and Creator. Each of my pieces are handcrafted with the hope that they will bring joy to your life and can be passed down from generation to generation.

 

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Minquansis Sapiel

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TRIBAL AFFILIATION: Passamaquoddy

BIOGRAPHY
Minquansis Sapiel pronounced (Min-Gwon-sis)  is  an enrolled member of the Passamaquoddy Tribe from Sipayik, one of the two Passamaquoddy reservations in Maine, a tribe that is a part of the Wabanaki Confederacy.  She grew up in Sipayik overlooking the Passamaquoody Bay. She is a published Author of a Children’s Book called  “Little People of the Dawn’ She also  received her Masters degree in Social Work and has earned her Captains license. She is self employed as a Storyteller, truthteller and Speaker, provides guided tours. The Hope is to connect people to the Passamaquoddy bay and provide people with a better understanding of Wabanaki History and Culture. In the meantime, she has collaborated with many organizations throughout Maine speaking on various topics of Wabanaki history and culture. She is a mother of three daughters and loves photography and nature.

 

About Little People of the Dawn

Little People of the Dawn is a beautiful Passamaquoddy story about a girl, Lili, who comes upon the Little People while on a visit to Second Island. The Little People were once friends with the Passamquoddy, but as the people began forgetting their traditional ways, the Little People retreated to the caves, and the Passamaquoddy rarely encountered them. Lili sets out to meet them, and along the way must learn her tribal language and ways if she is to communicate with them. The story reminds us of the importance of knowing our ways and caring for the earth.

Available in the Abbe Museum Gift Shop!

 

Richard Silliboy

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TRIBAL AFFILIATION: Mi’kmaq Nation

MEDIUM: Basketry - Ash

ARTIST STATEMENT
Richard Silliboy is a Mi’kmaq basketmaker. He has been harvesting ash and weaving potato baskets, pack baskets, and other traditional styles for decades. Growing up in Houlton, Maine, Richard’s mother taught him basketmaking. Richard often conducts workshops on basketry. He served as the President of the Maine Indian Basketmakers’ Alliance for ten years and now serves on the Board of Directors. He also has made presentations at various conferences about the significance of tribal history and traditions. Richard has been invited to attend various conferences. He is highly respected for his knowledge of brown ash and his concern for the threat of the emerald ash borer, an insect that has decimated brown ash trees in the Midwest.  He has also been asked by the Maine Arts Commission and the Maine Indian Basketmakers Alliance to take on apprentices to learn brown ash basketmaking. Integral to the Micmac culture is the belief in giving back to the Creator, and there has been a tradition among Micmacs who harvest a natural resource to leave something behind after the harvest, such as tobacco or some other item. Richard continues to harvest brown ash trees, and his giving back has taken on an even broader meaning through his willingness to share his knowledge of brown ash basketry with others.

 
 
 

Sarah Sockbeson

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Photo by Robin Farrin

Photo by Robin Farrin

TRIBAL AFFILIATION: Penobscot

MEDIUM: Basketry - Ash, Jewelry

ARTIST STATEMENT
I have been an artist my entire life.  Even at a young age, I was intrigued by Native art in particular.  Being Penobscot, I had seen baskets in museums and in the homes of my family members and was always fascinated by them.  I was also told stories about my great-grandmother who was a basketmaker in the early 1900s.  I wanted to be a part of this tradition, but unfortunately, in my family, it was not passed down to my generation.  I still found ways to practice art, and in high school I began painting and experimenting with various mediums.  I found it was a great outlet for my artistic abilities.

In 2004, I apprenticed with Jennifer Neptune as part of the Maine Arts Commission Traditional Arts Apprenticeship Program.  I was honored to have the opportunity to work with a skilled masterweaver, such as Jennifer.  She showed me first how to split the ash splints, how to prepare my material, and taught me the traditional techniques necessary to weave ash and sweetgrass baskets. Since then, I have sharpened my skills with each basket woven.

Although I am using traditional material and techniques, my style comes from the place I live today, in this modern society. Basketry, to me, is a fine Art and in order for the tradition to survive, it must evolve.  It is important for my work to appeal to a modern audience, while still remaining true to cultural traditions. When creating art, whether it be painting, drawing, basketry, or any medium, my top priority is always quality and attention to detail.  I take pride in every project I set out to do, and I am constantly striving to be better at what I do.  When I can create something that surpasses my initial vision, it gives me a real sense of accomplishment.

As for my inspiration, I look to the past, present and future.  I see it as being vitally important to acknowledge the traditions of the past.  I have a responsibility to honor my ancestors that have practiced the art of basketry long before I was alive. It gives me great pride knowing that I am able to perform this tradition in almost every way it was done years ago. To create a work of art out of a raw material such as the ash tree is almost magical.  When I look at some of my creations, even I sometimes wonder how they came to be.  As I weave, it is almost like having a spiritual connection with the past.

Living in this present day, my goal is to embrace the modern world and combine natural elements with bright innovative colors along with original designs to create a fresh approach to a timeless art form.

Not only do I aspire to create things that are visually appealing and a reflection of myself, but I also strive to preserve Wabanaki basketry to ensure that it is not lost or forgotten.  I see it as part of my duty, since obtaining this knowledge, to pass it on.  It is personally important to me, not just as an artist, but also as a Native American to create art that will inspire future generations, and keep the tradition of Basketry alive.

 

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Dawn Spears

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TRIBAL AFFILIATION: Narragansett/Choctaw

MEDIUM: Clothing, Diverse Arts, Painting/Illustration

ARTIST STATEMENT
My work reflects all facets of life. My mother Diosa Summers, Choctaw was an artist and educator who inspired and encouraged creativity in me and my siblings at an early age. I grew up being exposed to many forms of artmaking, assisting her was my introduction to art. It was inevitable that I would end up with similar interests.  I am a mother of three, a wife of thirty-six years to Cassius and a grandmother of seven, I find as an artist, that being able to create original art that has elements of my culture and tradition, is my best form of expression, I use symbolism and the rich colors of our natural world as inspiration for my abstract paintings and designs.

 

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Frances Soctomah

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TRIBAL AFFILIATION: Passamaquoddy

PANEL TITLE: Arts Transforming Our Futures

MEDIUM: Basketry - Ash, Beadwork

BIOGRAPHY
Frances Soctomah (she/her) is a Peskotomuhkati (Passamaquoddy) artist from Motahkomikuk who engages video, audio, animation, graphic art, and traditional Wabanaki arts practices to explore and articulate relationships between people, Mother Earth, and our non-human relatives. Family, memory, responsibility, reciprocity, and interconnection are concepts often woven throughout her work. She grounds her practice in story, incorporating teachings from conversations with her family and community members.

Frances is one of eleven children who come from a long line of Passamaquoddy artistry. She began her journey as an artist at age seven when her late-grandmother Molly Neptune Parker – a renowned basketmaker and matriarch of four generations of weavers – began teaching her to make brown ash and sweetgrass baskets. While learning to weave fancy baskets in styles passed down to her family through generations, Molly shared stories of growing up in Motahkomikuk and the many places she lived. She passed down teachings from their ancestors, often reflecting on how our relationships with each other have shifted through time. The stories of community and connection that were woven during their time together inspired Frances to seek out other teachers in her community. She later apprenticed with Gabriel Frey, a Passamaquoddy cultural knowledge carrier, to expand her knowledge of basketmaking and harvesting practices as well as Jennifer Sapiel Neptune, a Penobscot cultural knowledge carrier, to learn traditional bead embroidery techniques.

Creating in community paved the way for Frances to expand her arts practice to include digital material, centering and amplifying voices from her community and through her work. In 2019 she enrolled in the Intermedia Master of Fine Arts program at the University of Maine. She is expected to complete her studies in December 2022.

In addition to her creative practice, Frances is committed to supporting spaces for Wabanaki artists to create, connect, thrive, and be seen. She is active in art, museum, and nonprofit circles where she advocates for cultivating sustaining relationships with Wabanaki artists.

 

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