BASKETRY VIVIAN COTTRELL

One of the wonders of Native American basketry is that the modern age has not made basketry any easier. There are no shortcuts. Just to get into the studio can take a great deal of time as basket makers harvest materials, dry them, dye them and prep their designs. Only then can work on a basket begin, and that in itself requires many years of experiences, an eye for perfection and lots of patience.

RONNI-LEIGH GOEMAN AND (ONONDAGA) STONEHORSE GOEMAN (TONAWANDA SENECA)

“When I weave a basket I share the living past of my people. I am able to pass on a traditional art form, as well as the stories of those who came before, intertwining the past, present and future.” —Ronnie-leigh Goeman

THERESA SECORD (PENOBSCOT)

“More recently, my work incorporates cedar bark to help conserve our sacred ash trees, now that the emerald ash borer beetle is in Maine, destroying much of our weaving resource the ash tree, and the source of our very Creation. It is said, that ‘Gluskabe,’ our culture hero, ‘shot an arrow into the ash tree and from the tree came the Wabanaki, the people of the dawn, singing and dancing.’”

(CHEROKEE)

“As a fourth-generation basketmaker… and Cherokee National Treasure…it has been an honor to represent Cherokee basketry. I am currently working with rivercane. This weaving material is woven either as a single weave or a doubleweave. I weave large storage baskets with lids first and as my cane supply is used, my baskets become smaller. I call these baskets heirloom baskets because they… can be passed on to future generations.”