Large mask. A leatherette form fits over the head, and is covered with a thick pallet of sheep wool, a long red leather face emerging at centre. Face has a trunk-like nose painted with yellow, black and white stripes, and a long red and white tongue hanging below. A moustache of sorghum sits below the nose, with bean teeth attached. Goose feathers serve as large ears along the side of the head, and long black horns emerge above. Wool pompoms and bunches of pheasant feathers top the horns, and a wreath of ribbons and paper flowers span the distance between them.

Bernice Akamine says the impetus behind her feather work is a cultural connection to her Hawaiian ancestors, and finds inspiration in the feather baskets of the Pomo people. 'Ahu 'ula is the feather cape worn by Hawaiian nobility. This basket speaks alliances leading to cultural and artistic connections throughout the Pacific. Though this basket portrays connections between people and the natural world, Akamine says that when she works with feathers, the quiet she experiences is like an isolated meditation.

A cedar mask carved by George Pennier called Mother Earth Looking at the Universe.. The mask has heavy black eyebrows, pierced eyes rimmed with black and red, red nostrils and an open red lipped mouth. The majority of the face is painted with white and blue, representing the sky and stars. The upper rim of the mask has a row of white goose feathers. The inside of the mask is smoothed, and signed by the artist. The mask was carved by a Coast Salish artist, George Pennier, a resident of Chilliwack, B.C. The style of the mask is Northern rather than Coast Salish, attributed to the fact some artists carve in styles that are not necessarily their own tribal group. The mask is an expression of the artist' s own place within the universe, and was inspired by looking out at the night sky in Chilliwack. Carved in a traditional style the subject matter is very personal, concerning identity and the place of the individual within the world. The mask also references the concern for the environment, Mother Earth exhibited by many First Nations artists, and is an aspect of a Pan-Indian culture which is becoming more prevalent in North America. The mask was bought directly from the artist. Excellent

Dari (or dhari) feather headdress. Headpiece is shaped like an inverted-U, with a horizontal line through the middle. Three lines extend from the top of the centre line, connecting with the top edge; outer lines are curved, middle line is straight. All pieces are made of cane, wrapped in orange fibre. Headpiece has an outer border of plastic; connected to headpiece with black cane, shaped into a zigzag. White feathers protrude from outer edges of plastic, secured with black fibre; feathers in bottom corners are longer than rest and undecorated. Rest of white feathers have had their ends cut; each has three small triangles on either side and long diagonal lines at the tip. Large red seed is tied to the top centre of the headpiece and has three feathers extending from it. Long grey feather in the middle, framed by smaller white and black ones, is topped with a tuft of white feathers; secured to grey feather with white fibre.