Cultural diversity is as necessary for humankind as biodiversity is for nature. While ensuring the free flow of ideas by word and image, care should be exercised that all cultures can express themselves and make themselves known.
–UNESCO Universal Declaration on Cultural Diversity
As an indigenous designer, I approach design holistically and responsibly. Furthermore, I advocate that all designers, as producer of culture, consider their potential role in perpetuating systematic and cultural inequity. Cultural diversity, according to UNESCO, is an “ethical imperative” that demands “recognizing the importance of traditional knowledge systems of indigenous peoples, and its positive contribution to sustainable development, as well as the need for its adequate protection and promotion.” My research examines both the intended and unintended consequences of culturally related design decisions, considering both positive and negative impacts. It also advocates for participatory design methodologies and community engagement. Areas of interest include cultural representation, stereotypes, appropriation, authorship, and literacy. Ultimately striving towards cultural sustainability, my interdisciplinary work extends beyond equity and inclusion within design. I also support creative entrepreneurs who are transforming consumer landscapes, industry demographics, and local/regional economies with culturally responsible business.
My studio work compliments my research by providing visual insights into my perspectives as an Indigenous designer. Drawing from a long-standing and inspiring tradition of Indigenous innovation, I explore my Mi’kmaq heritage within our contemporary context. Reflective of my own experiences, my work challenges stereotypes of Native Americans while highlighting the diversity of Indian Country. Through material exploration and critical inquiry, I navigate the boundaries of design and art. In doing so, I also guide viewers away from the assumption, and even formal categorization, of Native Americans as “primitive” in search of a more central place for Indigenous peoples on the map contemporary art and design.
My interest in visual communication, including product narrative and design storytelling, is heavily influenced by my work in project and design management at complex institutions such as the Smithsonian. My responsibilities at Smithsonian Enterprises included the development of all new businesses (e.g., stores, restaurants, theaters, concessions) at the Institution, from concept through construction and post-mortem analysis/evaluation. My mandate was twofold: to generate revenue, and to further the Institution’s mission of “increasing and diffusing knowledge.” In this environment, I viewed design as a means of sharing knowledge. For instance, during the design of Mitsitam Espresso at the National Museum of the American Indian (NMAI) in DC, I continually asked myself whether or not design decisions would result in an increased “understanding of the Native cultures of the Western Hemisphere.” Scholars, designers, and managers from the NMAI provided invaluable input as we addressed this shared concern together, preempting issues like cultural appropriation through co-design. Our participatory design process included experts not only from our partner Museum, but also scholars, scientists, engineers, architects, and managers from across the Institution. The impact of the physical design on financial, social, and environmental systems were considered alongside its educational and operational merits.
While challenging at times, this systems-based approach is natural for me. Indigenous peoples, after all, have been “systems thinkers” since long before the term was coined. I had explored the ecosystem of design for over decade before even attending design school. As a chemical engineering student, I studied the physical systems pertaining to product development. As an investment specialist, I evaluated the commercial viability of products and businesses. As an international bond salesperson, I researched the relationships between the world’s sociopolitical, cultural, and financial systems. And while pursuing my MBA after design school, I explored creative and cultural management and entrepreneurship as a means to positive systematic change. As an Indigenous designer, I think holistically and act accordingly.
studio
Contemporary Mi'kmaq design
museum design
Mission-driven design and strategy
COMMUNITY
Culturally sustainable development