“Signs of Lekwungen” is a powerful series of seven sculptures created by Lekwungen Master Carver Clarence ‘Butch’ Dick (Yux’wey’lupton). These sculptures are placed in locations of historical significance to the Lekwungen people. The spindle whorls are representative of a tapestry created by Songhees women and the sculptures were carved in cedar before their final casting in bronze.

This specific piece, “Whu-Sei-Kum” is located in the Inner Habour marks the place of a wide tidal mudflat, which had an abundance of clams. The mudflats were covered over and the Empress Hotel was built on top in the post-colonial era.

The sculptures stand as vibrant reminders of the rich cultural heritage that continues to shape Victoria today. Clarence Dick’s art not only enriches the visual landscape of Victoria but also fosters greater understanding and appreciation of the rich cultural traditions that continue to shape the area.

I love this gargoyle-ish character in the gardens at Government House. I kick off each year's Movember campaign by doing a selfie with it. I did it the year I started and it feels like it has become a kind of spirit animal for me. It is an image on my journey to mental health. I love how people leave little offerings of flowers as if it were a creature in some animist shrine.

In recent years, I’ve been commissioned to create two large-scale Kelp installations—kinetic sculptures designed to move and sway with the passing breeze, capturing the gentle rhythm of underwater forests.

The first, crafted from a combination of steam-bent western maple and ash, is suspended in the lobby of Brentwood Bay Resort & Spa. Commissioned by Bidgood Interior Design Studio, this piece is publicly accessible during the resort’s opening hours. The second, a private commission for a home in Comox, was hand-carved from steam-bent yellow cedar. This installation features a luminous ribbon of light weaving through the organic forms like the tendrils of a sea jelly, enhancing its ethereal quality.

Both sculptures were inspired by my time spent working on the waters of the Salish Sea and exploring its tide pools with my family, translating the fluidity and grace of the sea into tangible, dynamic forms.