Over the May long weekend, our Land and Freshwater team travelled to the nxʷəlxʷəltantət (South Okanagan-Similkameen) to participate in the Meadowlark Nature Festival. CPAWS-BC has worked with partners in the region over the past two decades to expand protection for the increasingly endangered grasslands, with our work focusing particularly on the proposed South Okanagan-Similkameen National Park Reserve and more recently the nʔaysnúlaʔxʷ (Ashnola) sPA (sməlqmíx Protected Area).
Grasslands in BC have more species at risk than any other ecosystem in the province. They cover just 1% of the province, but are home to 30% of at-risk species in BC, such as the burrowing owl and bighorn sheep, making them one of the most important conservation priorities in BC.
It was amazing to visit protected areas, connect with supporters, talk about the urgent conservation needs of endangered grasslands, and see people participating in a fantastic art session with Ullus Collective Indigenous artists.
Where the Four Sacred Ecosystems Connect
A journey to protect the Ashnola River Corridor
On Saturday morning we travelled from our base in Penticton, 60 kilometres southwest to the nʔaysnúlaʔxʷ (Ashnola) sPA (sməlqmíx Protected Area) just outside of Keremeos.
Rob Edwards, Lauren Terbasket and Rheana Marchand from the Lower Similkameen Indian Band (LSIB) shared with us and Meadowlark festival participants, their journey to protect the Ashnola River Corridor (or watershed), home to one of the most endangered rivers in the province.
After living through the gradual but profound degradation of some of their lands and water from mining discharge, unsustainable forestry, hunting and other exploitative activities, the sməlqmíx people re-asserted their sovereignty and obligation to protect and conserve the waters and lands, through cultural revitalization and traditional knowledge, throughout the Similkameen watershed. In 2022, the Lower Similkameen declared the entirety of the Ashnola Watershed an Indigenous Protected and Conserved Area (IPCA).
In the summer of 2023, the largest forest fire in the valley since the 1800s, affected 40,000 hectares in the Ashnola sPA. The small team at the LSIB, having declared the IPCA only a year earlier, were already busy implementing conservation and management plans. Now they are also undertaking restoration work to manage the aftermath of the fires and replant millions of tree and shrub seedlings to stabilize and ensure safety around the steep slopes of popular recreation areas.
As we walked around the Ashnola campground and sməlqmíx Protected Area, we learned about the unique grassland shrubs like snowbrush and bitterroot and were able to smell the rain on the parched earth. We were filled with a deep sense of gratitude for their dedication and determination to keep pushing forward to protect and steward these breathtaking lands.
Coexisting with fire
Learning from a wildfire expert
On Saturday evening, back in Penticton at the Okanagan College, we joined Tour 35 – Learning to Coexist with Wildfire in BC led by eminent scholar and UBC Professor of Forest & Conservation Science Lori Daniels.
As the province grapples with the aftermath of the 2023 wildfires, such as the one that went through the Ashnola Valley as we had seen earlier that day, a shift to diversified, evidence-based, adaptive and proactive landscape management, based on science and community knowledge, is critically needed, according to Daniels.
Her presentation called for transformative changes to forest management and highlighted the importance of cultural connections to the land and reintroducing indigenous forest management practices. It echoed what we had heard earlier in the day. Daniels also noted that cultural and prescribed fire removes the build up of plant material and reduces the intensity of naturally occurring wildfires, while also promoting health and resiliency of the land.
Because we are beautiful – ałi kʷu swiwinumpta
Making art with grassland materials
On Sunday morning we gathered together in the gardens of Leir House for a session led by Victoria Jaenig of Ullus Collective Indigenous artists to learn the art of making dragonflies from traditional locally collected grasses and leaves (as well as some more contemporary materials).
This session provided another way for us to connect with the grasslands we had been learning about.
This event was also a great opportunity to engage in conversations with attendees about the work that CPAWS-BC and partners have been undertaking in the region and highlighted the important relationship between preserving cultural connections to the land and healthy ecosystems.
Ullus Collective has been creating a place to gather and cultivate the unique arts practices of sqilxw artists for over four decades and it was a privilege to be able to spend the morning together.
Our journey home on Highway 3, took us past a dusty white mountain peak, scarred by mining activity, not far from the Ashnola protected area. It underscored the importance of the ongoing work to protect the Ashnola watershed and the nearby proposed South Okanagan-Similkameen National Park Reserve.
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A year ago we hatched a plan to create a real-world art exhibit and community space where we could mourn biodiversity loss in BC, honour animals and plants trying to survive in an extinction crisis and recognize the possibility for hope at a moment where we can glimpse positive shifts ahead.
At Precipice: Changing the Course of the Extinction Crisis in BC we looked forward to what can be in BC – more Indigenous-led conservation; 30% of the province protected by 2030 and a resilient future. At Precipice we celebrated these opportunities, embraced hope and were filled with inspiration for the next leg of the journey to ensure decision-makers turn those promises into action.
We’ve shared some of the artists’ experiences here and we hope you’ll find hope and inspiration from them and their exquisite artwork as well as in some of the joyful moments of Precipice.
Sarah Ronald
As an artist I was really happy to be invited to participate in Precipice because it aligned perfectly with my interest in connecting with the world beyond the gallery. It was an opportunity to present my work where it had the potential to have a positive impact in the broader community. Precipice was also a great opportunity to connect with fellow wildlife concerned artists and art collectors, as well as a variety of individuals working in the fields of conservation, science and private sectors.
Along with talking about my piece (and our problematic concept of wildlife relocation to address habitat loss and poor human behaviour around coexistence with wildlife), I spoke about the importance of art and storytelling in this current time on the planet. Artists are really important to include in the climate and habitat loss discussions because they can present data in inspiring and unique ways, and those pieces can further engage and create massive ripple effects in generating solutions.
Through this exhibition I was also able to listen and learn. For instance after hearing CPAWS staff in media interviews, I was inspired to take a closer look at the UN report about biodiversity loss and excellerating extinction rates – which will no doubt become influence for future artwork, which will bring further awareness and acknowledgment to the broader community.
For my particular piece in this exhibition, The Transference of Landsharks, the message is for each of us to personally and continually check how our behaviours impact the natural world in daily life. Even where our current culture sets us up for complacency, we need to choose not to be complacent – we need to choose to stay engaged and to make positive changes for the rest of our lives.
If one loses sight of things, just consider that we are all living on clear cuts that were once massive healthy ecosystems: for this reason alone we have a responsibility to provide meaningful compassionate action towards all that is more-than-human.
You can check out Sarah’s work at sarahronald.com or on Instagram @sarahronaldartist.
Grace Lee
Being part of this group exhibit at Precipice was such a meaningful experience as it showed the passion and dedication to environmental preservation that many of us are fiercely protective of.
Many conversations revolved around setting an intention with the Daruma dolls to make change and taking that first step and promise to further the work needed to protect our environment & wildlife.
I hope that the Darumas set a daily reminder that every day matters.
It’s not only about setting a goal to take action but committing to it and following through for the sake of our land, waters and wildlife.
You can check out Grace’s work at eikcamceramics.com
Cherry Archer
Participating in Precipice was thoroughly rewarding. The curator had a clear vision. She assembled an engaging and informative group of speakers and workshops. I had the opportunity to present alongside talented artists. Each body of work complimented the next. I felt supported and had an excellent time presenting my workshop.-
The best way to keep informed on her work is to follow ger Instagram @cherry.archer
My work can also be found at:
Clare Wilkening
It was great to meet and make a connection with the other artists and the team that put together the show. During the opening, watching people interact with the Orca Tiles, take the time to absorb the piece, read all the text tiles and look closely at the individual orcas in their family groups, was really moving. I could tell from watching and speaking to people that they came away from the work with an emotional resonance and deeper knowledge of the way the Southern Residents live and what can be done to help prevent their extinction. With the Fraser River Sturgeon, people had a big reaction to how striking the work is, and that draws them in to learn more about this mysterious species who is our neighbour. Sturgeon in the Fraser have fairly robust population numbers, but most of the population is old; there are not enough juveniles to sustain the future numbers of this long-lived species. It’s unknown why there are so few juveniles, but part of the reason may be the stress of the catch-and-release fishery- stress can disrupt spawning biological processes and behaviours. Fishers have already voluntarily stopped fishing in certain areas during spawning season, but maybe more needs to be done. I had a sturgeon facts card next to the sculpture, and I equally enjoyed watching people read that as I did watching people absorb the Orca Tiles.
Some great conversations I had included talking with MP Jenny Kwan about ceramics and about these species, as well as being interviewed by Sheryl McKay for CBC: North by Northwest.
A major issue that the Southern Resident Orca currently face is the proposed expansion of the Deltaport/Roberts Bank terminal. This construction would greatly increase freighter traffic through the Salish Sea, which brings with it noise pollution (making it harder for the orca to locate prey), risk of ship strikes, and additional pollution from the vessels themselves and risk of oil spills. Construction would also destroy large areas of eelgrass in the underwater shore along the bank and the estuary- this is crucial habitat for migrating juvenile salmon, the orca’s primary food source. You can write to your MP, to Ministers Guilbeault (Environment), Alghabra (Transport), Lebouthillier (Fisheries & Oceans), Freeland (Deputy Prime Minister), and Trudeau (PM), and let them you do not support this port expansion and why. You can also visit
https://georgiastrait.org/work/species-at-risk/proposed-terminal-2-deltaport-expansion-2/ and
https://www.againstportexpansion.org to learn more.
You can find Clare’s work at her open studio Oct. 19-21 in Roberts Creek for the Sunshine Coast Art Crawl. She will be vending her ocean-themed pottery at Make It Vancouver at the PNE December 7-10th, and on
clarewilkening.com or on Instagram
@clarewilkening.ceramics.
Adea Chung
It was an honour to be part of Precipice and among such inspiring and passionate artists. I generally make small jewellery and home wares, having the opportunity to do something on a larger scale for the show was such a treat.
Adea’s work can be found at: The Billy Would store 2168 E. Hastings St. Vancouver, BC or visit
billywould.com.
