The Marston family’s cultural calling is keeping the Coast Salish art style alive and thriving.

Success is seen among their vibrant creations — made of cedar, shell and other media — gracing private and public collections.

Mask carver Jane Marston and sons Luke, 32, and John, 30, are having graphic work installed in Vancouver’s new convention centre, just one of many successes for the family in recent months.

John’s installing an assemblage called Snuw’uy’ulh (‘All our teachings and traditions’) comprising nine ornate paddles in Vancouver Airport’s new domestic terminal this month.

He’s also among five artists named as recipients of the 2009 B.C. Creative Achievement Awards for Aboriginal Art.

Meanwhile, brother Luke, 32, recently completed a federally commissioned bent box that is being used in reconciliation ceremonies across the country to help Natives shed pain suffered in Canada’s residential schools.

He is now carving a 14-foot totem called The Healing Pole to grace Victoria’s Government House this fall.

The brothers are also displaying two-dozen Salish works in the show Honouring The Ancient Ones at Vancouver’s Inuit Gallery until July 17.

The Marstons’ long list of artwork spanning faces and panels to bowls evokes Salish myths and legends preserved by Cowichan’s late master carver Simon Charlie.

The Chemainus First Nation members also cite books of Salish legends and culture, penned in the 1900s by a reporter named Beryl Cryer.

“It was based on her talking to First Nations women,” said Jane, who started carving in earnest with mentor Charlie in 1984. Jane essentially functioned as the carving icon’s right hand throughout the final years of his life

“Working with Simon was a blessing.

“You only have a friend like Simon once in your lifetime.”

Luke, John and dad David were also influenced by Charlie.

“Simon just wanted to share. He said ‘If we keep it (Salish art) to ourselves, it’ll die,’” Jane said. “We never turn anyone away who wants to learn.”

Including David, who is of Algonquin descent.

He started carving in ’79 after being laid off in the logging industry.

“I worked with Simon then Jane got interested and the boys were right there,” he said.

“They were seven or eight years old when they first started after seeing me carving.”

David, who occasionally carves professionally, applauded former Chemainus Secondary School teacher Walter Stoochnoff who urged Native kids to probe their artistic heritage.

Jane does the same, teaching a carving course at Quamichan Middle School.

“It’s sad because most of our people don’t know our carving style. Kids in our culture are encouraged to keep doing art if they’re gifted in it,” said the grandmother of 13. “Now our art’s going over to the grandchildren.

“You see qualities they have and encourage them to discover that part of themselves and that’s what brings it out.

“They’re learning their culture and for so long we were denied that.”

David’s proud his family is helping save the Salish style.

“You couldn’t hope for more.

“I encouraged them to learn all about the Coast Salish and focus on that style itself and make it contemporary.”

Luke researched Salish history in the Royal B.C. Museum archives, David noted.

Luke’s pumped his Healing Pole will decorate Government House and deliver cultural harmony.

“They’re trying to bridge gaps between Aboriginal and non-Aboriginal people,” he said of the pole — his first — being carved at the Marstons’ carving compound on the Chemainus reserve.

Friend John Livingston helped Luke rough out the pole crowned by an owl and sun representing hope.

The owl — and a frog at the base — are spirit guides.

Frogs also hop between land and water, representing cleansing power, Luke explained.

The pole’s centre comprises a female shaman holding a butterfly against a rainbow, symbolizing rebirth.

Luke is honoured his pole will join works at Government House by Kwakwak’awakw artists Marianne Nicolson and Bruce Alfred.

“I was ready for my next step to bigger pieces. It’s just a bigger mask really,” he said of the 350-year-old cedar log bought from Timberwolf Logging of Campbell River.

Luke resists the suggestion his family is spearheading a Salish art renaissance because it resists blending other styles. He cited Susan Point as another artist whose style is distinctly Salish.

“We’re Salish so why would I try to use other styles?”

John, meanwhile, worked for five years at carver Mungo Martin’s shed in Victoria, in addition to working with Charlie, and with his parents.

“I look at the things they’ve done with their lives and that inspired me to be a better carver and a better person.

“There’s a lot of responsibility that comes with being an artist and teaching people who we are and where we’re from.”

Those ideals surface in his airport paddle masterpiece. It’s being installed with help from architects and lighting pros to create a canoe silhouette amid the natural world.

“I hope viewers realize Coast Salish people have lived here for thousands of years, and the stories behind our people.”

Like Luke and Jane, John has honed a super-smooth look on yellow and red cedar.

“It’s all about knife finishing for a natural, crisp look.”

The Marston contribution doesn’t stop with the boys.

Sister Karen, 36, is a weaver and painter who is proud of her family’s commitment to Salish art.

“It’s pretty amazing because it’s something I feel is being lost in our culture.”

“If we can keep it alive for our children and everyone else, it’s a great gift.”

That’s why sister Denise Augustine helps integrate Native culture, artistic talent and perspective in classrooms as School District 79’s Aboriginal curriculum coordinator.

“It gives permission to younger generations so they don’t have to apologize for who they are.”

Another sister, Angela Marston, 33, helps Luke by carving, and weaving cedar bark for bent-box lids.

She also makes braided rope and traditional cedar-root coil baskets.

Angela’s excited her family is saving Salish traditions after many of their people’s artworks were lost after white contact.

“It’s cool; it’s a tribute to our ancestors and part of who we are, and we’re staying true to that.”

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