Cultural respect is important to us. We believe in meaningful discussions, education, and artistic integrity. Recently, concerns have been raised about whether our work—specifically soapstone carving, orca depictions, and finger weaving—constitutes cultural appropriation. We’d like to address these concerns openly and directly.
1. Soapstone Carving is Not Culturally Exclusive
Soapstone has been carved by cultures across the world for centuries. While the Inuit have a strong and respected tradition of soapstone carving, they are not the only people who have worked with this material. Many cultures, from Europe to Asia to the Americas, have used soapstone as an artistic medium.
Our work does not imitate Inuit styles, nor do we claim to be Inuit or sell our pieces as Inuit art. Additionally, the Inukshuk and Kulliq in our educational programs are used as teaching tools, not for profit. These objects help students understand their significance in Inuit culture, presented with full respect and context.
If respectful education is labeled as appropriation, then we risk creating a world where cultural knowledge is lost rather than shared. Teaching about Inuit traditions in a thoughtful, accurate, and respectful way should not be discouraged.
2. Depicting an Animal (Orca) is Not Cultural Theft
Concerns have also been raised about carving orcas because they are sacred to the Haida. While we deeply respect Haida art and traditions, orcas exist in nature, not just in one culture’s symbolism. Many cultures have depicted orcas throughout history.
The Haida have a distinct artistic style for representing orcas, but our carvings do not replicate or borrow from that style—we carve naturalistic representations of the animal itself. The argument that an animal cannot be depicted by anyone outside a certain cultural group is an overreach. By that logic, eagles, wolves, and bears—also important in Indigenous traditions—would be off-limits to all non-Indigenous artists. That’s not a reasonable or practical approach to artistic expression.
3. Finger Weaving is a Global Practice, Not Exclusive to the Métis
Finger weaving is an ancient textile technique practiced by many cultures worldwide. While the Métis are well known for their distinct weaving traditions, they did not invent finger weaving—it is a weaving method that has existed for centuries across different societies.
I was personally taught by a Métis weaver, and I do not label my work as “Métis weaving” or claim Métis identity. I simply call it finger weaving, because that is what it is—a universal textile practice that has been adapted by many cultures.
For those who argue that only certain people can practice it, we ask: Should non-Métis people stop weaving entirely? Should non-Indigenous artists stop working with clay because Indigenous cultures have traditional pottery? These restrictions don’t promote cultural respect—they promote cultural isolation.
4. Respect Does Not Mean Avoidance
We fully respect Indigenous cultures and traditions, but respect does not mean avoiding materials or techniques that exist across cultures. It means working with awareness, honesty, and integrity.
• We do not misrepresent our work.
• We do not claim Indigenous identity.
• We do not market our art as something it is not.
Our focus is on creating meaningful, high-quality pieces while honoring the history and traditions behind the materials and techniques we use. If there are genuine concerns or constructive discussions to be had, we welcome them. However, we also believe in standing firm against misinformed, overreaching accusations that restrict creativity and education rather than promote understanding.
We remain committed to artistic integrity, education, and open dialogue. If you have questions or thoughts, we encourage respectful conversation.
We Want to Hear From You
Cultural respect and education are important conversations. What are your thoughts? We welcome open and respectful dialogue on this topic.
📩 Feel free to reach out!
