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Tara Francis

Lieutenant Governor’s Awards for High Achievement in the Arts
2024 Indigenous Artist Award’s laureate

Tara Francis is a Mi’kmaq visual artist from Elsipogtog First Nation. Considered a master of traditional Mi’kmaq porcupine quillwork, Tara is a multidisciplinary artist whose work also includes surface design and painting.

Drawing from her spiritual and artistic journeys, Tara’s work incorporates the connection she maintains to her ancestry. She applies traditional techniques to new forms, while addressing the current issues that deeply affect her people and the environment. The contemporary edge she gives to her quill art has elevated her work to international recognition.

Tara is dedicated to preserving and revitalizing the traditional art of porcupine quillwork, and has also shared the tradition by teaching throughout Atlantic Canada and Maine. Her creations have been included in public and private collections around the world, most notably at the Beaverbrook Art Gallery, the Smithsonian Affiliated Abbe Museum, and in the private collection of His Majesty King Charles III, through a commission from the Lieutenant Governor of New Brunswick. Tara’s work has been featured in APTN’s Documentary series Wabanaakik, in the short documentary film Wabanaki Modern by independent filmmaker Clem McIntosh, in the soon-to-be-released CBC documentary Shining A Light on Indigenous Art in Atlantic Canada, and in various arts columns and magazines.

Baies des Chaleurs Fish Clutch 6x8 Porcupine quills in Birchbark, seaweed dyed silk, 24k gold and glass seed beads, sweet grass, rabbit fur, deer leather. (Tara Francis)

What led you to become an artist?

When I was a little girl I watched my Dad draw caricatures of people, I believe that was one of my first inspirations. I used to nab my Mom’s liquid eyeliner and draw little animals in party hats on my closet walls. As I became a bit older, my Grannie ordered me one of those art tests advertised on TV, and I began to really excel at art during my high school years being introduced to more techniques and materials. This led me to take my grade 12 art class twice, having achieved all required credits. Although it took another 6 years before I made my way to the New Brunswick College of Craft and Design, I was still creating art on the side. I am not sure that one actually becomes an artist, I just think you are born one.

How has your Indigenous culture and heritage impacted/inspired your practice?

I feel like my artistic practice and journey run parallel with my Indigenous identity. As I gained understanding as to what it meant to be an Indigenous person living in today’s world and the impact that my work could have by using it as not only a traditional practice, but also as an avenue to offer healing and give voice to issues affecting my people.

Grandmother Moon Turtle 2 — Grandmother Moon Turtle 1 foot x 2 feet Porcupine quills in birchbark, sweet grass, silk, needle felted wool, embedded with Angora goat, cashmere, alpaca, bison. (Tara Francis)

Lucretia 8x10 Porcupine Quills in Birchbark (Tara Francis)

How did your training and experience help you to create and innovate in your artistic practice?

Having an innate sense for art in general and being trained in the principles and foundations of art and design, and then having more exposure to traditional art practices and materials of the Mi’kmaq, it seemed a natural progression to combine those skills into developing my own contemporary style.

What stimulates you most about your practice?

I like new challenges, and pushing the bar as to what I can achieve and how I can take my practice to the next level by being presented with an artistic problem to solve.

What motivates your creativity?

My spirit, and how I can share my own journey through my work.

What have you learned about yourself and the artistic community through your work?

We are a family of like-minded creators who build each other up.

What do you think is the impact of artists' work on communities and the province as a whole?

From an Indigenous perspective, I hope that the next generation of young artists can be inspired and empowered by seeing other Indigenous artists thriving by doing their work, and seeing themselves and their voices being expressed through the work.

Migitjoo 8x10 Porcupine Quills in Birchbark (Tara Francis)

Describe what you are most proud of in your career.

It is hard to pinpoint specific things, but I am most proud of work such as the portraits of my Grandmothers and my elevation of skill having achieved the challenge of succeeding in producing work of such quality with so much personal meaning behind it.

What would your dream project look like?

For quite some time it has been my dream to travel to Ireland and study the traditions, ancient symbols and art practices of the region to create balance and draw on commonalities between two sides of my heritage as well as share the art and culture of the Mi’kmaq with artists there for an extended period of time. This past year I was able to break ground on this dream by making initial connections through a cultural exchange with Celtic artists in Scotland working to preserve and bring back their ancient culture.

oetjgoa'tigemg 8x10 Porcupine Quills in Birchbark (Tara Francis)

Tell us more about your next project? (if you’re able to share)

Presently I am working on some commissions both for individuals and public spaces. I am hoping to do some collaborations and I’m incubating some ideas worth of some Canada Council for the Arts funding in the future.