Prints Available

While an online store is being developed, you are invited to visit the gallery or email me directly to place an order. See some of the artwork below that is available in the gallery. These art pieces vary size, format, and price. Email or visit in person to learn more.

*Click on the image to see where it was exhibited and for the art description.

Artwork and Exhibitions

(Re)Generation, 2024 (Exhibited in the Castle of La Napoule, France)

As we delve deeper into understanding our relationship with culture, we must also confront and acknowledge the profound pain that accompanies stewardship. Our cultures have faced and continue to face attempted erasure. They are persistently demeaned and disregarded until they suddenly become profitable or commodified. This piece narrates the story of that fear, anger, and the unknown. It depicts a deformed figure holding the last human, who is in turn protecting the last orca. The expressions of pain and anger on their faces serve as a poignant commemoration of all those who relentlessly fight for our lands and cultures, even in the face of violence and adversity.
The narrative extends beyond the pain and struggle, also encapsulating a story of hope. This last human, while clinging tenaciously to their land and culture, is also looked after by a divine being. This divine figure, holding the last human, symbolizes the critical support and protection from our ancestors. It serves as a powerful reminder that our ancestors are watching over us, cheering us on, and holding us up as we navigate the challenges of preserving our cultural heritage. This piece is not only a tribute to the resilience and resistance of those fighting for cultural survival but also a testament to the enduring hope and support provided by our ancestral spirits.

Space for Stars (Created with lək̓ʷəŋən Lands)

Inspired by the words of Kahlil Gibran — “The deeper that sorrow carves into your being, the more joy you can contain” — this piece reflects on the intimate, often complicated relationship between sorrow and joy. A human form, with a bear-like head, stands exposed and vulnerable, its body riddled with hollow spaces. These holes, though signs of wounding, become portals where light breaks through. Stars emerge from within, expanding outward, as if the cosmos has always been there, waiting for an opening to shine.
This piece invites us to reframe how we view sorrow — not as something to push away or hide, but as kin. A quiet teacher. A presence that, when acknowledged, offers depth and understanding. It reminds us that while it’s easier to armor ourselves against pain, there’s a kind of magic in leaning into it, in listening to what it has to say. Through that act of witnessing, sorrow can create space within us — not just for grief, but for joy, light, and growth.
Question for exploration:
What have your own sorrows carved out within you — and have you found stars shining through those spaces?

Riverways To The Unknown, 2024 (Exhibited in the Castle of La Napoule, France)

'Riverways to the Unknown' frames a young Indigenous woman from Turtle island in the center, setting off on her canoe into an unknown door in the middle of emptiness. Surrounding her is a colorful natural landscape with two guides watching over her. These guides take the form of a female body with bear heads. In my culture, bears represent protectors of youth. This piece allows us to recognize that the waters that we are treading are new. Our ancestors have never walked this path before us. So, we must embrace this unknown and create new paths– merging both tradition with contemporary.

What We Owe, 2024, Public Art Display at Royal Oak Shopping Centre

This piece speaks to community collaboration and the gifts of each community member. On the left, you see two trees sharing a cup of tea. This reflects the value of relationally in our communities. At the bottom, you see a flowing, alive water system that reminds us of the role of water -both literally and symbolically- as an essential part of our survival. When you look up, you see three circles in the sky: the raven, the eagle, and then the moon. This reminds us that each member in our community holds a perspective and unique viewpoint. The raven sees the lower level, the eagle can fly higher, and the moon gives us a whole new perspective from up above. Each perspective is needed to understand our lands and our people.

So when we do this work, we must remain grounded in knowing that each person has a perspective and a gift for the circle we intend to create.

Extending out of the middle are the same swirly lines that are also seen in the banners. This shows us that everything is connected to one another and our stories cannot be separated. I ask that when you look at this artwork, you reflect on what it means to be in community, what each person has to offer in our communities, and what collective care feels like.

Ask yourself: How do I imagine community care? How do I prioritize some perspectives more than others? How do I limit my understanding of peoples' gifts to the community?

Ancestors in the Cosmos, Exhibitted in Lecce Italy

In a small pool of water, a raven- human-like creature rests. Surrounded by craters and growing natural life in a far away planet, the creature find comfort in their solitude- far away from earth or any other humanlike. When imagining ancestors, many Indigenous cultures imagine animal beings. While many of us imagine these ancestors nearby, this piece imposes a different perspective- where else may our ancestors be finding rest? Here, I explore where our ancestors may be exploring in the present day. Some people imagine them always looking over us, but how does that perception center ourselves instead of them? Where would you explore if you were a spirit?

Mapping Our Becoming, 2024, Exhibited in Open Space (Victoria BC)

Lajah Warren explores themes of transformation, focusing on using art as a tool to mirror our own roles in change-making. Informed by her background in counseling and community work, she takes inspiration from a therapeutic tool called the "blob tree” which is a visual aid depicting genderless, expressive figures positioned in and around a tree. The Blob Tree is a tool that individuals identify and express emotions by representing themselves with a blob-like creature, offering a more accessible means of expression. It offers a simple yet profound way to explore one’s inner world, serving as both a reflection and a guide.
Central to this series, ‘Maps to Becoming’, shows two ancestral bodies surrounded by figures, inspired by the concept of the blob tree. The work invites viewers to relate with one of the beings in the piece and to ask: "Where am I today in creating the changes I hope to see, and who do I want to become?" This work tasks the audience to engage in self-reflection, encouraging us to label ourselves in the piece itself and ask those two same questions.

Since Birth, 2023 (Created with the Mediterranean in the South of France)

One of the first pieces of works in the ‘Ancestral Glitch’ series, this piece shows a body centered with a wolf head. Inside their stomach is a deformed face. This ancestry is in between transformation from human and animal. This piece connects us to the stories of transformation that are found in many of our cultures. Many indigenous communities hold stories of transformation, where animals and humans can shapeshift. This piece acts as a reminder that these stories are carried with us since birth. Like deja vu, it can feel like these stories have been told to us for generations. We feel them in our veins. So since birth, we have felt the transformations and experiences of the eagle, the salmon, and the salal plants. We know their stories. We know their truths. We just need to re-remember. It is not about learning culture, it is about re-remembering a part of us that the systems around us tried to destroy.

Question for Exploration: What are the stories that are culturally significant to us? How can we sit with those stories and explore how the teachings can impact our lives today? What ways can we re-remember the teachings that we were once connected to?

Cyber Terrain, 2024 (Created with the Mediterranean in the South of France)

In the center of this piece is a woman figure with the head of a robotic raven. From all limbs, branches appear to be pulling the creature apart. This piece encourages us to imagine a future where tribal cultures, technology, and land come together. As we imagine our future, how can we recognize the role that technology will be playing in our lives? How can these elements come together in harmony?

Question of Exploration: With the technological advancements we see and can anticipate, how do we prioritize the land and spiritual relationships to weave within this? Rather than dividing technology from spirituality, how do we see these two forces as allies rather than enemies?

Puzzled, 2022 (Created with the Castle of La Napoule, South France)

This piece explores a different perspective on decolonial love, reflecting on the ways that knowledge systems can be shaped by our relationships. Knowledge is not given. It is earned when appropriate. Teachings are given to us when we are ready to receive this information. So, this piece explores concepts of learning from a cultural lens by demonstrating that no learning can happen in isolation. We cannot see the world clearly until we are in connection with others. Learning does not happen in isolation, but through connection. At its core, no learning can happen without relationships with others.

Question for Exploration: How is knowledge given and understood in a cultural context? How can we shift our views to see knowledge sharing as a form of love?

Decolonial love, 2021 (Created with lək̓ʷəŋən Lands)

This piece is the inspiration that led to the creation of the ‘Kiss for Freedom’ series of artworks. “Decolonial Love” shows two women gazing towards one another. With vibrant contrasting colors and green waves extending outside, this piece demonstrates the merging of two worlds. It was created to act as a reminder to embrace decolonial love… the love that lets our ancestors kiss our cheeks, the love that lets our families see the real us, the love that extends beyond a gender binary, and the love that we have for ourselves.

Question for Exploration: How does this artwork invite us to reflect on the concept of decolonial love and its transformative power in reshaping relationships and identities?

Take me to my Kin, 2023 (Created with the Mediterranean in the South of France)

In this painting, two figures are intertwined with one another in a tender embrace. Their hair transforms into the flowing rivers below them, while a backdrop of swirling and dynamic patterns unfold around them. While loving, their relationship to one another remains unclear. Like many perspectives on love, we unconsciously categorize every relationship. This piece expands love into all crevasse of our lives. It reminds us to feel rather than to analyze. It reminds us to redefine platonic and romantic love. It demands us to embrace all of those around us, without attempting to enforce social rules on the ways we love.
Question for Exploration: How can we encourage our circles to recognize and celebrate platonic love alongside romantic relationships? How can we practice love more freely, rather than claim love with only one person? How does communication play a role in the ways we expand our views of love?

Weaving, 2022 (Created with lək̓ʷəŋən Lands)

“Weaving” explores love within the context of ancestral and land-based relationships. Two figures wrap themselves around each other while bringing together the skyworld and the waterways. When thinking about decolonial love, we think of how this relates to our relationships with other humans. This piece was created when I was in a period of reflection, trying to identify how I define sexuality and love. This reflection led to the realization that our ability to love, and those we choose to love, can be mirrored to us from the natural world. Our plant, sky, and animal kin all continue to role-model the ways we can love, as well as free us from gendered views of loving. With that, there is a responsibility for stewardship- to ourselves, to our communities, and to the land. We can become stewards to our hearts, letting it love authentically and vulnerably.

Question for Exploration: How do land based kin inspire us to love? If we could learn a lesson about love from the land, what would it be?

Desert Raven, 2022 (Created with Wadi Rum, Jordan)

This piece represents the connection between the femininity that I see in Jordan and my ancestral lands in Turtle Island. Here, a woman sits in a teacup bathing herself while wearing a Raven mask to see perspectives beyond this world. As she washes herself, she is given time to reflect, pause, and re-remember the root to her culture. Culture is inside her. The desert sky above her melts into the mountains as the stars electrify her body.

Question of Exploration: What does it mean to walk as a good guest in unfamiliar lands and to merge the lessons of the lands you know as home, with the lessons of the lands that you are creating home within?

This Body is Not Mine (Created with lək̓ʷəŋən Lands)

This piece of work is one that I have continuously returned to since first starting it at the age of 17. It has become a culmination of the ways that I relate with my body. A woman layered with colors stands in the center, as she runs her fingers through her hair. She effortlessly blends into the skyworld. Throughout my life, I come back to this artwork with new perspectives of the power my body holds- all of the stories, the love, the sky above me and the roots beneath me. Through this work, I began to feel the cedar in my bones, the rivers in my blood, and the stars in my hair. This body is not mine. It never has been. It is the spirit of the world around me with etchings of the lineages that pathed a way for me.

Question of Exploration: How do we learn to love our bodies and recognize the generations that have loved bodies like our own? What stories do our bodies tell?

Sacred Rage, 2022 (Created with Muğla, Türkiye)

Inspired by the sea and mountains of Kabak Beach in Türkiye, this piece shares the story of femininity that is tied in our connection with the landscapes around us. It honors the intuition, the discernment, the fire, and the fluidity that femininity can hold. The feminine spirit carries more than just nurturance (as it's often associated with). It carries with it both fire and fury. What this spirit teaches us is that we can hold these fires with love, care, and flexibility. In a world with misunderstood anger, femininity teaches us that we can be untamed and angry, while also carrying the grace and gentleness that is generations old.

Question of Exploration:
When redefining femininity, how do we carry the values passed forward by our family, the wisdom shared with us of the land, and actively restructure the ways we view anger? How can we all love and take care of the sacred rage that is within us?

Other Commissions and Public Artwork

Royal BC Museum, Under Cement We Remember

Art Installation at the Royal BC Museum highlighting the grief and occupation of land in urban settings.

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