Moy Sutherland is from Tla-o-qui-aht First Nations on the West Coast of Vancouver Island. Born January,1974 Moy grew up immersed in his Nuu-chah-nulth culture and its traditions. Moy carries two traditional names: Hiish-miik, which translates to " someone who gets whatever they are after" and Chioton, from the Coast Salish village of Tla'amin (Sliammon), which translates as "Someone who helps".
Since 1994 Moy has submerged himself in his artistic career. For the past 20 years Moy has had the benefit of learning both Kwakwakawkw and Nuu-chah-nulth design structure. Moy has worked with world renowned Master Carvers Art Thompson & Carey Newman, to name a few. The lessons and influence of his mentors and friends are a large influence on Moy's present day art. He has used his experiences to broaden his understanding of all Pacific Northwest Coast First Nations Art Forms. Although he is mindful of staying within the traditional rules and values of his culture, he strives to find ways to set himself apart from other artists. He enjoys exploring different media and he is refining his own style both with modern and traditional techniques. Currently Moy works from his studio located in Victoria, BC. Moy has art work in private and public collections worldwide.
Morris (Moy) Sutherland is from the Ahousaht Nation, within the Nuu-chah-nulth territory, on the west coast of Vancouver Island. Moy carries two traditional names: Hiish-Miik, which translates as “someone who gets whatever they are after” and Chiotun from the Coast Salish village of Sliammon, which translates as “someone who helps.”
In 1994 Moy began creating carving in Alert Bay, BC. Upon mastering some basic techniques, he moved home to his traditional territory to learn more about the Nuu-chah-nulth style. In 2000, he began an apprenticeship with world-renowned Nuu-chah-nulth artist Art Thompson. Moy and Art worked together until Art’s death in 2003. In 2016, Moy created a totem pole for the Victoria Native Friendship Centre with six local youth apprentices. Moy has the benefit of having learned from both Kwakwaka'wakw and Nuu-chah-nulth artists. His pieces are known for being ornate, and often containing abalone and operculum inlays.