As part of the Indigenous Spaces and Places component of a larger health project we have been working on, local and regional artists were invited to submit draft art ideas that could be included in the project. We selected pieces based on relevancy, connection to the goals of the project, representing a diversity of artists and art practices, and pieces that would be accessible to the identified audiences. Some of the artists provided more than one piece, which we knew would lead to having a few left after the project, and our commitment was to share their creativity with others.

Below are the draft art pieces that were not selected, and as they are draft ideas, your new art piece can be customized.

If you have interest in any of the pieces below, please contact us at [email protected] and we will be in touch. Three Things Consulting collects no fees, commissions, or reimbursement for any of the pieces below. We will simply connect you with the artist(s) in order to facilitate a commission plan together, and you will pay the artists directly upon completion.

Pieces with an asterisks * are final pieces and not able to be customized, though the artists are open to commissioned pieces.

Sheldon Traviss

Sheldon Traviss is an emerging artist living in Kingston, Ontario. Being of Mohawk descent, he has spent much of his life attempting, as best as he can, to live a traditional life. This pursuit began in his youth and continues to guide him today as he nurtures his passions for Indigenous culinary tradition, community involvement and volunteerism, food sovereignty, and cultural revitalization.

An active community member, who shares his gifts freely, has long been acting on innovative visions to bring the old way to today. From the kitchen, to the land, Sheldon has long seen art as part of healing.

His artistic practice includes graphite and digital drawing and ceramic and wood sculpture. Sheldon is pursuing cultural revitalization through the creation and use of traditional Haudenosaunee cooking vessels and pottery using locally sourced, self-processed materials.

This past summer, Sheldon, curated by Agnes Etherington Art Centre, hosted ‘The Way We Did Things’, a durational, outdoor, public performance at a former quarry site. Beginning at sunrise, Sheldon foraged for wild clay and edible plants before constructing a traditionally designed Haudenosaunee cooking pot. The performance concluded with the making and serving of chicory tea, harvested by the audience, as an embodiment of contemporary urban Indigenous land-based relations.

“The Flow of Life” is a poignant series of clay tiles that captures the intrinsic connection between nature and the human experience of healing through dialysis.

Each tile features intricately sculpted tree roots that follow the path of the tubing in dialysis machines, symbolizing the vital and life-giving flows that connect us to both the Earth and the support systems we rely on.

This project reflect the profound relationship between the body and nature, illustrating how roots – often hidden below the surface – represents stability and resilience. Just as tree roots anchor and sustain a tree, the dialysis machine serves as a lifeline for those navigating chronic kidney disease, mirroring the cycles of life and growth.

Through the textured clay and the organic forms of the roots, this piece will convey the duality of fragility and strength in the human experience. Each root symbolizes not only the journey of individuals undergoing treatment but also the interconnectedness of our shared experiences, reminding us that healing is often a collective journey.

“The Flow of Life” invites viewers to reflect on themes of vulnerability, support, and the continuous flow of life, urging them to appreciate the unseen connections that sustain us all.

Chanelle Blair

My name is Chanelle Blair and am a proud Black and Inuk artist with a bright and positive personality. I find inspiration in the simplest things, and I’ve loved creating art for as long as I can remember.

I was born in Toronto, Canada, in 1994. In 2007, I moved to Brandon, Manitoba, to live with my dad for a year. While there, I had the chance to learn more about my Inuit heritage and culture.

My family comes from the Arctic, in particular, the Nunangat region. During that year, I learned how to hunt and survive in the wild. It gave me a deeper connection to my roots and a love for nature.

In 2008, I moved back to Toronto to live with my mom. That’s when I really began to explore my creativity. I was always drawing, painting, and making things with my hands. Art became my way of expressing myself and connecting with the world around me.

While raising my children and living in Toronto, I was given the opportunity to create two murals for an adult school, sharing them for Black History Month. One featured a lion in Jamaican colours, symbolizing strength and pride, and the other was a collage honouring influential figures like Rosa Parks and others who shaped Black history, celebrating resilience and cultural identity.

My heritage and life experiences inspire everything I create, and I’m grateful to share pieces of my story through my work.

The artwork symbolizes Indigenous approaches to health, emphasizing mental and spiritual wellness through a harmonious relationship with nature and inner peace. The elements of meditation, connection with nature, and the central figure radiating light offer teachings that emphasize balance, mindfulness, which can benefit public health spaces by promoting mental and spiritual well-being.

The artwork, titled “Mino-Bimaadiziwin,” captures the concept of living a balanced, harmonious life. At the centre, a radiant human figure pulses with energy, representing the life force that flows through all beings. This energy stretches outward like roots connecting the figure to the earth, the universe, and everything in between.

It is reminding us of the deep interconnection of all things. Above, the stars shine, guiding us toward a greater understanding of our place in the universe. Every element in this piece — the feathers, the eagle, the medicine wheel, and the flowing energy tells the story of our deep connection to nature and that true healing and balance come from embracing these ties and living in harmony with the world around us.

This painting is a homage to the cycle of life, deeply rooted in Indigenous teachings and connection to the Earth. At the centre is a woman, kneeling in reverence, cradling new life within her. Her glowing belly holds the child, symbolizing both individual life and the continuity of generations. The spiral over her womb reflects the circle of life—birth, growth, death, and rebirth.

Surrounding her, vibrant plants, flowers, and berries represent nature’s medicine, each leaf and bud symbolizing the teachings of plants as healers and allies. Flowing water shapes at the base remind us of the sacred waters that nourish all creation, representing the depth of ancestral knowledge passed down through generations.

This painting is a prayer and a reminder: we are all connected, nurtured by the land and by the wisdom of those who came before us. It speaks to the sacred role of women as life-bringers and our duty to protect and honour the Earth for future generations.

The turtle symbolizes resilience and wisdom, representing the deep connection between traditional knowledge and healing practices. This piece reflects the importance of nature’s role in our wellness journey, reminding us to integrate traditional
practices into our approach to health.

This painting will incorporate semi-3D elements, with the entire turtle and flowers extending outward from the canvas. These 3D features add depth and texture, bringing the turtle and flowers to life and enhancing the viewer’s connection to the artwork.

Mance Granberg

I’m Mance Granberg, a two-spirit Wolastiquiyik/Abenaki artist from Quebec; with family lines tracing back to the Gill and St. Aubin clans. As a former nurse for 22 years of experience, my journey has been marked by resilience and determination. Having spent my youth in the foster care system, I was denied the opportunity to pursue my passion for graphic design.

However, the discovery of the 215 unmarked graves at a residential school site sparked a renewed creative journey, guiding me towards art as a path to healing. Through my art, I seek to highlight the vital role of culture in healing the body, mind and spirit, emphasizing the importance of connection to community, culture, and Mother Earth.

*

Ceremony is a vital component of Indigenous wellness, nurturing the interconnectedness of mental, physical, and spiritual health. These sacred rituals incorporate traditional medicines, carefully selected for their holistic healing properties. As the ceremonies unfold, the medicines work in harmony to promote balance and rejuvenation within the individual. The mind is calmed, the body is strengthened, and the spirit is lifted, restoring a sense of wholeness and vitality. By honouring the ancient wisdom of ceremony and medicine, we can cultivate resilience, foster well-being, and deepen our connection to the natural world and our own inner selves.

*

In Indigenous cultures, the journey to wellness is a lifelong path that unfolds through distinct stages, from childhood to adulthood and finally, to elderhood. As individuals transition through these stages, they must tend to the interconnected aspects of their being: physical, mental, spiritual, and emotional.

This holistic approach to wellness recognizes that the body and soul are intertwined, and that nurturing one aspect inevitably influences the others.

By embracing this comprehensive understanding of wellness, individuals can cultivate a deep sense of balance, harmony, and resilience, ultimately becoming strong, vibrant, and wise elders who embody the wisdom and spirit of their community.

Jaylene Cardinal and Dakota Ward

W.C Creatives

Jaylene and Dakota are artists who moved to Kingston from Edmonton in 2014, and believe art can help the world become not only a more understanding and considerate world, but a happier and better place to live. In that, they have built their business, W.C. Creatives into a respected and sought after offering of Indigenous jewellery, fashion, crafts, foods, and their unique and storytelling paintings and display art.

Dakota and Jaylene use their art to express their emotions, make the world a more beautiful place and communicate ideas to pass from one generation to another. They are driven by their community and their desire to build a brand and reputation as leading Indigenous artists.

This painting represents grounding, balance, and the power of taking a moment to breathe. The tree of life symbolizes health and growth, with its roots and branches showing the connection between body, mind, and spirit.

The turtle represents stability and resilience, while the glowing orbs reflect healing and vitality. The soaring birds remind us we are guided and supported on our journey to wellness.

This piece inspires calm and encourages us to pause, breathe, and trust in the strength within and around us.

Michele L.

My name is Michel (Mike) L.  My Native name is Meangon, which means wolf. I have ties to Lac Simon and Curve Lake. I have been carving leather and antlers now for thirty years. I started by carving wood, then soapstone and pipestone. Then I moved on to leather and antlers.

I have been in prison since Nineteen eighty-six, with very little time on the outside. I am a pipe carrier, a Traditional Indigenous man, who has taught my children and grandchildren.

I have a son, who at seven years old was told he had been diagnosed with t-cell ALL (Leukemia). When he turned nine, and had been in remission, he passed away from sepsis due to low immunity.

I also have a daughter who is in her twenties, who has given me three grandchildren. I have been with my wife over thirty years, married for eighteen years and her family is from Curve Lake.

After my son passed, I stopped my carving and in dealing with that then Covid hit and only made things even harder. I struggled with emotions and the fact that I couldn’t see my family. I couldn’t see any reasons for new artwork for quite some time. My inspiration returned to me when my son came to me in a dream and he told me I needed to return to my carving, to help me get through this overwhelming time.

My drug free lifestyle is directly related with the loss of my son. I refuse to dishonour him with a wasted life, as I would have given him mine. I refuse to disrespect this wonderful boy and his memory by reverting to drugs and losing my family, and everything I have worked for, would be at a loss.

Since my son’s death, the idea of doing drugs has not once entered my mind. I wholeheartedly believe that my son asked the creator to take these thoughts away from me, as a gift to myself and my family.

When I carve, I have always been known to pray and be in touch with the spirit of the object I am carving. I will not start carving an antler, unless I see what it wants to be. This could take a day, or it could take a year or so for it to come to me.

I believe as an Indigenous person, and a carver, I have been given a gift to use, and also to share with others.

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The pieces shared here are more than art.

They are medicine.

They include teachings, ways of knowing and being, and when shared they are reminders that Indigenous Peoples, families, clients, workers and volunteers matter.

They are reminders to non-Indigenous people, that there is thousands of years of knowledge in how to care for ourselves and each other, and we can walk together in a way the needs and ways of being are honoured, respected and celebrated.

Sharing any of these in your space is a message that Indigenous Peoples matter to your team and they are welcome.