Sarah has won ribbons at the Santa Fe Indian Market and the Heard Museum Invitational show for her work. Her work was featured in the Portland Museum of Art's 2016 Bicentennial exhibit along with 3 other young Maine Indian basketmakers. Awards such as these elevate her work from finely crafted baskets to works of art.
Former Chief Barry Dana, Penobscot, does birch bark work. Barry does both porcupine quill design and etching qoek in traditional Wabanaki designs as well as realistic etchings of natural scenes... such as pumpkins and corn, portraits, moose, deer, birds etc.
Jennifer Sapiel Neptune, beadworker, basketmaker and herbalist. Jennifer's ancestors have lived on what is now the Penobscot Nation's "Indian Island" for generations. She remembers her grandmother working there to dye ash splints for traditional ash and sweetgrass baskets. Jennifer has a degree in anthropology and a concentration in Native Studies from the University of Maine in Orono.
Stan Neptune is the leading authority on Maine Indian chip carving, root clubs and walking sticks. In the process of learning Penobscot myths, history, legends and stories from Senebeh, a religious elder and root club carver, Stan picked up chip carving.
Pam outdusis Cunningham was one of the very few young basketmakers working in the 1990's. At that time most thought Maine Indian basketry to be a dying art. Pam's successes, enthusiasm and willingness to teach and share her talents went a long way to keeping this art alive, ensuring a younger generation would learn basketry and to making Maine Indian basketry the respected craft it now is. Pam has always woven technically excellent baskets, enjoyed reproducing older basket forms as well as trying new shapes, colors and styles of her own inventions.
Joe 'Hugga' Dana is the finest Native American chip carver. Chip carving is a traditional Native American art form specific to the Penobscot and Passamaquoddy tribes of Maine.
Ganessa, Penobscot basketmaker, is best known for her amazing miniature point curl baskets and her creative use of color.
The carved woman's head - with her Wabanaki "peaked cap" atop this talking stick is beautiful. This peaked cap would have been worn by Erik's female ancestresses - both Penobscot & Abenaki. Below the face, the barkless portion of the stick shows the elegance that painting can bring. Erik Sappier, Penobscot /Abenaki explains this technique "these sticks take 4-5 coats of stain to achieve the color, whereas the talking sticks I've made in the past are chip carved, stained then stain is wiped away. The painting of the turtle takes me about the same amount of time as it does to carve it, so all in all, these new painted sticks are 2-4 times more time consuming then a chip carved, then stained stick. Also, it's a tougher medium because I can't really draw what I want to chip carve, it scars the stained wood."
A small "Abenaki" corn basket by Pam Cunningham, master Penobscot basketmaker. Black and brown accent kernels are added to the primary color of dyed burgundy ash on the ear of corn. Pam also adds a burst of color to the husk with narrow ash splints dyed black, burgundy and brown inserted at the center of the natural dyed outer husk.
A large round open sewing basket with 3 accessory baskets by Pam Cunningham, Penobscot master basketmaker. The large basket has porcupine curls over every other foundation splint, and the remaining splints are dyed black. The weaver splints are dyed a deep burgundy except for a thin black splint at the top.