Native American art has previously been out of the traditional scope of the art world; only
recently has it begun to truly make its transition from the world of anthropology museums
into the western contemporary art discourse. Even with this advancement and placement into
the realm of contemporary art, most Native American art is grouped with the other worldly
arts such as African, Meso-American, and Oceanic art; these world arts are often excluded
from the galleries dedicated to the display of contemporary art. One artist has found a way
to bypass this trend. Artist Sonny Assu, a Ligwilda’xw of the Kwakwaka’wakw nations melds
the artistic traditions of his Ligwilda’xw background with contemporary art practices. His
vibrant paintings link back to his First Nations heritage by combining Kwakwaka’wakw style
with contemporary subject matter and materials. His paintings often adorn animal hide
drums providing a sculptural aspect for Assu to explore as well as creating another link
back to his Kwakwaka’wakw culture. By working in both the Native American and western
contemporary art discourses, Assu has a chance to educate people about the struggles of the
Kwakwaka’wakw people and ignite change within the Pacific Northwest Coast communities.
The works of Sonny Assu spark conversation about First Nation peoples as well as pose
important questions surrounding their history and treatment. Assu explores the role of the
artist as an educator, the perpetuation of socio-cultural values of Native American people, and
the function of totemic representation in the contemporary context. These central ideas shape
his work and offer an important perspective on the concerns of contemporary indigenous
artists