 They're doing a lot of thinking. They're really wanting to know for themselves, what can I do with the design. I've been there too, like you're stuck with the design, what can I put on this panel, you know, and just playing around with that idea. So, you know, I just watch and make some suggestions and they already know where they're going with it, just getting it on to the wood. My name is Brenda Crabtree and I am the Aboriginal Program Manager at Emily Carr, University of Art and Design and I have the privilege of working with the approximately 80 Aboriginal students at Emily Carr. Hi, I'm Chris Gaston. I work for F.P. Innovations and the University of British Columbia and along with Brenda Crabtree from Emily Carr, we are the two co-project leaders of Opening Doors. These door panels are actually carved from both yellow cedar and red cedar. This project also embraces the cultural connection that Aboriginal artists have to cedar and cedar for Aboriginal artists throughout B.C. is actually our Tree of Light. My name is Chalactin Queenshna, that's my name. I am Skotmish, we now call Squamish. My name is William Callahan. My clinic name is Yucca C. Yuhatu Esau. My clan is Dr. Whitty. My name is James Nechalos, Harry. I come from the Squamish Nation. I'm also Kwak Yohaka. All my name is Chas Mack. I grew up in Balakula, B.C. My new-called name is Nanoskli. And originally when I was 15, 16, I found out I was from Balabala. My name is Weakai. My English name is Lyle Mack. My family comes from the village of New Skells. We're from Balakula. Most people know us as the New Health People. Hello, my name is Edmund James Thomas Neal. My traditional names are Anape from Neutronal Territory and Castleass from the Kwak Yohaka territory. I've already learned quite a bit from Chalactin. Rick Harry was a seasoned carver in terms of 2D formats, which deals a lot larger with public projects and private commissions strictly in two dimensions, doors, panels and like. Carvers spent four weeks at Emily Carr under Chalactin's mentorship. And concurrently, the Frida Deeson School also have their group of carvers under the mentorship of Ken McNeil. The artists completely own not only the design and these panels, they own the reproductions. They'll decide how many limited edition reproductions that they want to do. Yes, the doors I understand are going to start off at the roundhouse here and the doors will be away for a year on a road trip and be traveled onto different parts, probably across Canada to, I heard, maybe Japan and Germany and wherever else it takes it from there. Hi, I'm Sheila Hall and I'm the co-curator of the Opening Doors Exhibition held here at the roundhouse. And we were very happy to work with this exhibition. And I'm very heartily and worked with Sheila curating this exhibition. One of the major things about this exhibition that really excited me is the collaboration between all the different partners. There is the community that we're, where we are right now in the roundhouse. Through mostly my work at UBC, we're going to bring technology into the equation and we are working with the artists to look at the possibility of doing what I call limited edition prints with modern scanning and CNC router technology. The panel that I'm working on right now, I feel like a self-portrait. It's these two characters that I've always represented in a lot of my artworks. Of the two teams that we had for the training, we had five students from the southern part of the coast going to Emily Carr University of Art and Design and five up north in Terrace at Freda Deasing School, which is actually part of the Northwest Community College. The two panels that you're seeing behind me are two of those from the north, Arlene Ness, this one here and on my left, Jared Kane. And interestingly, we also divided the species by the two areas. Up north we used Yellow Cedar and here in Vancouver we used Western Red Cedar. The form line is mainly bold, like northern style. There's a lot of similarities between Haida and Clingette Art. I came across this project by one of our band members back home. It took me a while to think about it and I didn't want to come here by myself. So I asked Lyle to come with me and I was hoping that both of us would do it together and sure enough we did. Me and Chas do a lot of work in our own community together. A lot of family projects that we do have short timelines on them and so you know we kind of stick together. We learn from each other. A lot of people are ask us, oh who do you think is better? But we don't think that way. We just push each other and that's all it's about is expanding the art and doing the best that we can. And what appealed to me or one of the other things that appealed to me about it was that there's a mentoring process that's taken place here. So you have master carvers teaching younger carvers the skills and knowledge that they've acquired over 30 or 40 years of practice. Also you had fathers and sons so there's a father-son team in the exhibition and you also had one of the fathers who's also a carver but not in the exhibition coming in and showing his son some of the techniques that he could use while carving. I'm very interested in how Northwest Coast Aboriginal art is moving from more traditional into contemporary art and they're using different materials, different ways of working with the traditional designs and this CNC technology adds a new tool to the toolbox in a sense. An important component of this study was to work beyond the very talented artists in themselves and really look at how we can turn this into a capacity building for the communities. This program was initiated as a pilot project and it's been a really interesting journey of exploration, of troubleshooting, of just having the amazing opportunity to work with artists from all areas.