LIGHTING A PATH

The Late Dr. William Good

The Late Joel Good

xwulmuxw (as in people and language rooted in place), Eliot White-Hill, Kwulasultun

This artwork interweaves an ancestral Snuneymuxw spindlewhorl design from a whorl that now sits in the British Museum collection in London with an archival photograph from the mid-island. I had the chance to spend time with this whorl last summer on a research trip, and while there I felt acutely aware of the distance at which it sits away from home. It felt like I may as well have been on another planet. Fortunately, this spindlewhorl is clearly identified as coming from Snuneymuxw, but archival practices and provenance data are not always so. The archival photograph overlayed with the design is actually of the Cowichan River. Many cultural belongings from the mid-island are mislabelled and there is uncertainty as to where they come from. But in the old days, we were one collective people. The national boundaries that exist today were drawn by colonial governments. Our ancestors knew each other as the next family or tribe down the way. This artwork seeks to reconnect and redraw boundaries as it resists the colonial definitions imposed by archive and historical gaze.

kwasilwit, Chenoa Point

I am honoured to carry the weaving teachings passed down through my family and community. I am deeply grateful to Aunty Stephanie Thomas and my late Auntie Margaret Louise for their patience, guidance, and generosity. I also acknowledge the Longhouse, where teachings are shared, relationships are strengthened, and responsibilities to one another are learned. The Longhouse continues to guide my practice, reminding me that weaving is a living teaching rooted in community, culture, and care. Through these teachings, I understand weaving as a lifelong journey. I feel truly blessed to continue the traditional teachings of our people and to walk in the Coast Salish ways with humility and respect.

Noel Brown

The bear seen in this design represents great strength and family values. This design can also be seen decorating one of the ice-resurfacers at the Nanaimo Ice Centre.

Ryan Hughes

'yuteeustana:t, Gena Seward-Wilson

The Late Dr. William Good (ts’usqinuxun)  - Dr. William Good was a Hereditary Chief of the Snuneymuxw First Nation and a Master Coast Salish carver, storyteller, cultural historian, and visual artist whose life’s work continues to shape the future of Coast Salish art. Devoting decades to researching and revitalizing the nearly lost Snuneymuxw Coast Salish art form, he helped ensure that its visual language, teachings, and cultural depth would endure for generations to come.

His artistry spanned carving, painting, jewelry, garment design, and cultural education, with each medium becoming a vessel for preservation and renewal. Recognized with an Honorary Doctorate for his profound contributions, Dr. Good also collaborated closely with his family through Ay Lelum The Good House of Design, where his knowledge and creativity remain foundational to their work. His public artworks and cultural influence continue to be celebrated locally and far beyond, carrying his legacy forward with lasting strength and inspiration.

The late W. Joel Good (ts’usqinuxun) - Joel Good was a world‑renowned Traditional Coast Salish master carver and artist whose influence continues to shine through the work of his family and community. A pivotal figure in the Coast Salish Art Revitalization Movement, Joel helped shape a powerful resurgence of cultural expression, leaving an impact that continues to grow long after his passing.

Working alongside his father, the late Dr. William Good, his sisters Aunalee and Sophia, and his mother, Sandra Good, at Ay Lelum The Good House of Design, Joel contributed carvings, designs, and collaborations that appeared in major public art installations and on fashion stages - where tribute showcases continue to honour him today. His artistry carried forward Coast Salish traditions with extraordinary passion, precision, and cultural depth, ensuring that his creative spirit remains a guiding force for future generations.

Eliot White-Hill, Kwulasultun - Eliot White-Hill, Kwulasultun (he/they) is an artist and storyteller from the Snuneymuxw First Nation in Nanaimo, BC. His family roots are in Penelakut and in Hupacasath in the Nuu-chah-nulth world. His interdisciplinary art practice is rooted in honouring and celebrating the stories and teachings passed down by his family, community, and culture. He works across a range of mediums, including digital art, printmaking, painting, sculpture, installation, creative writing, and curation. His work has been exhibited internationally across Canada, the United States, and England. He currently resides on the territories of the Musqueam, Squamish, and Tsleil-Waututh peoples.

kwasilwit, Chenoa Point

My name is Kwasilwit, and my English name is Chenoa Point. My Great-Great-Grandparents are James Point (Musqueam) and Martha Bailey (Katzie). My Great-Grandparents are Leonard Point (Musqueam) and Matilda McLean (Duncan area), and my Grandparents are Spencer Point (Snuneymuxw) and Nina Sam (Uchucklesaht). My roots are Snuneymuxw and Musqueam, and I am Nuu-chah-nulth.

Noel Brown - Noel Brown is a renowned artist and a member of the Snuneymuxw First Nation. Brown began carving professionally in 1995 and received inspiration from James Lewis, a prominent Northwest Coast carver. His style has also been guided by the teachings of Richard Baker and Matthew Baker. His artwork is on display at prominent locations, including the Nanaimo Museum, Vancouver Island University and elsewhere in this park.

Ryan Hughes - Ryan Hughes is a rising Coast Salish artist from Snuneymuxw First Nation whose practice bridges wood carving, digital illustration, and painting. Based in Surrey, he first encountered carving in high school, later deepening his skills through mentorship with renowned artists Chris Sparrow and John Velton. Under their guidance, Hughes learned foundational Coast Salish design principles and digital techniques, shaping the multidisciplinary approach he carries today. 

Hughes’ work is rooted in cultural reconnection. Through carving and digital art, he explores teachings, stories, and relationships that reflect his lived experience as an urban Indigenous youth. His mural About We Show Up for Each Other, created for the Downtown Eastside Youth Outreach Centre, highlights themes of transformation, community, and shared responsibility - values central to his artistic voice.

With a growing following, Hughes continues to refine his craft, focusing on creating meaningful work rather than production speed. He is committed to giving back through art, supporting other youth, and helping foster culturally safe spaces. Guided by patience, practice, and cultural learning, Hughes aims to one day carve masks and continue expanding his role as a young Coast Salish artist.

'yuteeustana:t, Gena Seward-Wilson