Nancy Oakley: Eskasoni Artist Champions CBCCD’s Bold Marketing Vision

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Nancy Oakley of Eskasoni has been part of the Unama’ki/Cape Breton artistic community for over twenty years as a ceramic artist. What’s her key to achievement? A mutually beneficial partnership with the Cape Breton Centre for Craft and Design. 

“Many people recognize me from the gallery and share with me, ‘Oh, my goodness, I purchased a cup from there,’ which is always incredible. Recently while we were out enjoying lunch, someone shouted, ‘I adore my cup!’ and I reflected, ‘How amazing to be acknowledged in public,’” Oakley reminisced. 

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Oakley engages in a blend of traditional and modern pottery, infusing it with symbolism from her Indigenous heritage; she was born and raised in Mashpee, Massachusetts, and currently resides and works in Eskasoni First Nation. 

“I have practiced my crafts throughout my entire life. My mother was a seamstress and a beader, while my father created traditional regalias. I obtained a degree in photography, graduating from the Institute of American Indian Arts in Santa Fe in 1991,” stated the 55-year-old. 

“Then I transitioned to pottery almost 30 years ago. I dabble in beadwork and basketry as well, and now I aim to incorporate everything into my work.” 

Oakley utilizes two methods of blending her cultural artistry into her pottery. 

“There are some pieces in which I create three-dimensional beaded flowers that are stitched directly onto the pot. There’s a community in Mexico known as the Huichols, and they would perform all their beadwork flat, adhering each bead individually with tweezers; I recently completed a piece where I employed that method,” Oakley explained.  

“For the basketry, I would attach the splits directly onto the pot and then either continue to build the basket on top or cut out openings to place the basket in the center.”  

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‘THEY’VE DONE A LOT FOR ME’ 

Oakley mentioned she has been affiliated with the center since 2000, and throughout those 25 years, she has taken advantage of numerous initiatives they provide.  

“They’ve contributed significantly to my journey. I had my first solo exhibition there, and I sell my work at the gallery. They assisted in sending me to various locations, including Oklahoma, to collaborate with a traditional potter in one of their initiatives,” Oakley reflected.  

Oakley has also engaged in their marketing programs, which recently received an extra $253,000 in federal funding in September.  

The center also connected her with an individual to assist in developing her website, providing a grant that covered 75 percent of the transition to an e-commerce platform, according to Oakley. 

“They set me up with someone, and when I find some time, we will establish it so I can market my creations online,” she stated.

“Thanks to the website, I’ve been garnering a lot of visitors because they can message me, and I can guide them to where I’m selling, or we can arrange a meeting. I produce bulk work and gallery items, so the website is not primarily for production work but focuses on my larger creations.  

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“It can be quite overwhelming when you’re managing everything solo and trying to stay on top of it all, so the current aim is to hopefully just sell the larger pieces which are positioned at a higher price point.” 

‘IT’S LIKE A FAMILY THERE’ 

In addition to building independent websites for visibility, the Centre has also aided Oakley with exposure through their various marketing efforts.  

“They have pointed me to news articles and similar resources. They’ve arranged product photography for me. I truly appreciate the Centre; I have always been associated with them,” Oakley expressed.  

As an Indigenous artist, Oakley has discovered that the Centre is a fantastic source of support and reassurance.
 

“I feel that it is like a family atmosphere there, and they exert great effort to ensure that everyone feels at ease and welcomed, supporting all, including Mi’kmaq artists,” she stated.  

“I have been part of their community since 2000 when I was likely one of the few Mi’kmaw individuals involved with the organization for quite some time. It’s heartening to witness the initiatives and how they’ve engaged with the communities to conduct workshops and similar events to involve Indigenous individuals in the Centre.” 

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‘WE AIM TO PROMOTE INCLUSIVITY’ 

Elizabeth Slaunwhite, marketing manager for the Cape Breton Centre of Craft and Design, underscored the significance of prioritizing Indigenous artists in the distribution of federal grants.  

“At Unama’ki Cape Breton Centre for Craft and Design, we endeavor to honor and maintain the treaties of peace and friendship established with the Mi’kmaq by celebrating the enduring tradition of exquisite and creative craftsmanship of the island’s first peoples,” Slaunwhite stated.  

“Several Indigenous artists have their work showcased in the gallery shop here on Charlotte St., and we coordinate Mi’kmaw craft programs through an in-community co-ordinator as well.  

“Some workshops we have hosted in the past include basket-weaving, fur crafts, beading, and more. Through these workshops, we aim to foster inclusivity within the craft sector for the Mi’kmaq.” 

Meghan Dewar serves as a Local Journalism Initiative reporter for the Cape Breton Post, covering Indigenous Affairs. 

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