A bead-lover’s dream

As part of its 2024 National Indigenous History Month programming, the Indigenous Theatre department of the National Arts Centre (NAC) hosted its ninth edition of the Indigenous Art Market this past June. More than 40 vendors installed their booths in the expanse of the Gail & David O’Brien Atrium, where a wide array of beadwork, paintings, art prints, jewellery, accessories, and treats were on full display for visitors to admire and acquire. 

The event ran from 11 a.m. to 5 p.m. on June 15, giving ample time for folks to peruse, buy, or chat with the artists and makers. A few of them, like beadworker Chelsea Lackey, were willing to talk about their journey. 

Lackey had been coming to this same Indigenous Art Market as a shopper for many years before first applying as a vendor. She expressed how “seeing all the creativity” and engaging with the “great community here” has helped her feel less alone – especially as a self-taught artist. 

Lackey’s beadworking stems from a desire to reconnect with her roots. “My family heritage is a little bit lost in translation so it’s been a couple of years that we have been trying to learn about our past,” explained the Ottawa-based artist.

When further asked about the event and her fellow artists, Lackey beamed, saying how “everyone is so welcoming.”

Other vendors like Ellie Partridge (Aupaluk Designs) and Shaye (Dope.Ahontas Designs) echoed Lackey’s enthusiasm. Experienced beadworker Shaye, who has been crafting since they were seven, was excited that their daughter was “just starting her beading journey” and that she too might, perhaps, join the Indigenous Art Market’s community in the future. 

Shaye continued, “I was here since the first year and the growth has absolutely been exponential; you can’t describe it in any other way. [The Indigenous Theatre department has] made such an amazing space for us.”

The Market actually predates the official launch of the department by a year. It was created by Mairi Brascoupé, Lindsay Lachance, and Amanda Baumgarten – most of whom are still working within the department as of 2024. The goal was to offer space for Indigenous artists to meet amongst friends, exchange stories, and introduce their amazing artworks to the NAC-loving public. 

Partridge, for her part, had the chance to showcase her works for the third time at this particular market. Her jewellery combines traditional Inuit-style beadwork with the more modern applications of polymer clay. The results are bright and adorable fusions. Partridge singled out her favourite and latest pieces, “The new narwhal ones there; I wasn’t even going to bring them to display them [because they’re] the most exciting ones I’ve worked on recently.”

But thankfully, she did!

Despite the Market’s poster being showcased on the NAC’s website under its “Events” page, it did not appear as any lasting (i.e.: grid posts) on their Instagram account. The advertising of both the event and the vendors, then, seems to mainly have been up to their artists themselves. Regardless of the marketing plan or possible lack thereof, this summer’s Indigenous Art Market proved to be a real treat and success – especially if foot traffic is anything to account for. 

Shaye also spoke highly of in-person interactions as a key factor in making the Market boom. “We help connect work and connect each other with different events so a lot of our networking is word of mouth. And that’s where we take our opportunities outside of this place.”

Lackey, Partridge, and Shaye all look forward to the upcoming Indigenous Art Market coming this winter season. 

As a parting note, Shaye directs folks to the Assembly of Seven Generations (A7G). “They’re a really powerful organization that are specifically making strides for Indigenous youth. They’re paving roads out there!”