Lawrence Paul Yuxweluptun Lets’lo:tseltun

Exhibitions Neo-Savage Landscapes, Macaulay + Co. (2025) → We who have known tides: Indigenous Art from the Collection, Vancouver Art Gallery, Vancouver BC (2025) → Lawrence Paul Yuxweluptun Lets’lo:tseltun: Floor Opener, Kitchener Waterloo Art Gallery, Kitchener, ON (2025) → Smoke in Our Hair: Native Memory and Unsettled Time, Hudson River Museum, Yonkers, NY (2025) → Town + Country: Narratives of Property and Capital, Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, BC (2025) → Electric Dreams: Art and Technology Before the Internet, Tate Modern, London, UK (2024) → neo-reservation landscape painting and ovoidism, Arsenal Contemporary, New York City, NY (2024) → Paintings & Sculptures, Macaulay + Co., Vancouver, BC (2023) → Armory Focus Section curated by Candice Hopkins, New York City, NY (2023) → Charlene Vickers / Lawrence Paul Yuxweluptun Lets’lo:tseltun, Macaulay + Co. (2021) → Lawrence Paul Yuxweluptun Lets’lo:tseltun | Tree Drawings, Macaulay + Co. (2020) → Lawrence Paul Yuxweluptun | Neo Indian Landscapes and Other Works of Art, Macaulay + Co. (2019) → Lawrence Paul Yuxweluptun, New Works, Macaulay + Co. (2018) → Lawrence Paul Yuxweluptun – Drawings, Macaulay + Co. (2017) → Time Immemorial (You’re Just Mad Because We Got Here First), Canada House, Canadian High Commission, London UK (2017) → Unceded Territories, Museum of Anthropology, Vancouver, BC (2016) → Lawrence Paul Yuxweluptun – Neo-Totems, Macaulay + Co. (2016) → Attila Richard Lukacs | Lawrence Paul Yuxweluptun, Macaulay + Co. (2015) → Lawrence Paul Yuxweluptun – Indian World, Macaulay + Co. (2013) →
Inquire Lawrence Paul Yuxweluptung Lets'lo:tseltun
Studio Visit with Lawrence Paul Yuxweluptun
Of Cowichan (Hul’q’umi’num Coast Salish) and Okanagan (Syilx) descent, Lawrence Paul Yuxweluptun (b.1957) is one of the most outspoken and influential contemporary artists in Canada today. Yuxweluptun presents his ideas through hard-hitting, polemical, but also playful artworks that now span a forty year career. Yuxweluptuns’ works can be brutal critiques of issues such as land title, residential schools, and the destruction of the environment, making him a pivotal voice in contemporary art. He lives and works on unceded, traditional and ancestral xwməθkwəy̓ əm (Musqueam), Sḵwx̱ wú7mesh Úxwumixw (Squamish), and səl̓ ilw̓ ətaʔɬ (Tsleil-Waututh) territories.

Yuxweluptun has participated in more than 25 pivotal exhibitions internationally, with a forthcoming exhibition at the Art Gallery of New South Wales (2027), and presentations at the Tate Modern (2024, London, United Kingdom), Heard Museum (2023, Phoenix, AZ), Philbrook Museum of Art (2023, Tulsa, OK), Eiteljorg Museum (2022 Indianapolis, Indiana), the Haus der Kulturen der Welt (2023, Berlin, Germany), Crown-Indigenous Relations and Northern Affairs Canada (CIRNAC), Indigenous Art Collection (2021-2023, Sussex Courtyards in Ottawa, ON), McMichael Canadian Art Collection (2021, Ontario), Montreal Museum of Fine Art (2020, 2021, Montreal, QB), Crystal Bridges Museum of American Art (2018-2020, Bentonville, Arkansas), SITE Santa Fe (2018, New Mexico), the Art Gallery of Ontario (2017, Toronto), the Vancouver Art Gallery (1997, 2005, 2006, 2011, 2020), the National Gallery of Canada (2013, 2014, Ottawa, Ontario) and the Banff Centre for the Arts (2003, Alberta). In 2016, the Museum of Anthropology at the University of British Columbia mounted a major 30-year survey of his work, titled Unceded Territories. In February 2026, Yuxweluptun was announced as the 2025 recipient of the Gershon Iskowitz Prize in honour of his artistic excellence and contribution to contemporary Canadian art.
The Impending Fire Storms
The Impending Fire Storms 2024 120 x 108" Acrylic on canvas Collection of the Vancouver Art Gallery
Fire Landscape
Fire Landscape 2023 108 x 84” Acrylic on canvas Peabody Essex Museum Collection
Little Colonial Reservations in British Columbia, Land Reserved for Indians Under the Indian Act
Little Colonial Reservations in British Columbia, Land Reserved for Indians Under the Indian Act 2023 48 x 36′′ Acrylic on canvas
Along The Coastal Shores of the Salish Seas Traditional Native Territories
Along The Coastal Shores of the Salish Seas Traditional Native Territories 2023 73 x 97" Acrylic on canvas
Neo Ovoids
Neo Ovoids 2023 72 x 72” Acrylic on canvas
Spirit Walker
Spirit Walker 2023 24 x 13 x 13” Acrylic on cedar
Our Ancestral Spirits Walk With Us
Our Ancestral Spirits Walk With Us 2022 72 x 54” Acrylic on canvas
Harvest Moon
Harvest Moon 2022 54 x 36” Acrylic on canvas
Untitled ( landscape)
Untitled ( landscape) 2020 35.35 x 26" Acrylic on canvas
The Other side of the Inlet
The Other side of the Inlet 2021 72 x 54” Acrylic on canvas
Untitled (Landscape)
Untitled (Landscape) 2020 84 x 96" Acrylic on canvas
Northwest Coast Climate Change
Northwest Coast Climate Change 2019 76 x 96" Acrylic on Canvas
Indian World My Home and Native Land
Indian World My Home and Native Land 2012 120 x 84" Acrylic on canvas
Natives playing on the Land
Natives playing on the Land 2015 108 x 72" Acrylic on canvas
Floor Opener
Floor Opener 2012 76 x 96" Acrylic on canvas
The One Percent
The One Percent 2015 84 x 60" Acrylic on canvas
Christy Clark and the Kinder Morgan Go-Go Girls
Christy Clark and the Kinder Morgan Go-Go Girls 2015 Acrylic on canvas Photo credit: Maegan Hill-Carroll, Vancouver Art Gallery
Fucking Creeps They’re Environmental Terrorists
Fucking Creeps They’re Environmental Terrorists 2013 84 x 72” Acrylic on canvas
The Direction of Land Claim Negotiations
The Direction of Land Claim Negotiations 2013 72 x 68” Acrylic on Canvas
New Chiefs on the Land
New Chiefs on the Land 2016 66 x 84" Acrylic on canvas
Installation view, Lawrence Paul Yuxweluptun: Neo-Totems
Installation view, Lawrence Paul Yuxweluptun: Neo-Totems 2016
Untitled
Untitled 16 x 11 x 10" Cedar, acrylic
Untitled
Untitled 2016 15 x 9 x 10" Cedar, acrylic
Rainy Cowichan winter Ceremony in the Longhouse
Rainy Cowichan winter Ceremony in the Longhouse 2004 92 x 76" Acrylic on canvas
Portrait of a Residential School Child
Portrait of a Residential School Child 2005 63.3 x 52.8" Acrylic on canvas
The Impending Nisga’a’ Deal. Last Stand. Chump Change
The Impending Nisga’a’ Deal. Last Stand. Chump Change 1996 80 x 96" Acrylic on canvas Collection Vancouver Art Gallery. Photo credit: Trevor Mills