A 16’ tall totem that Carey is carving for a private commission.

A totem that will present as a welcome figure for T’Sou-ke Nation. For this project, Carey worked with T’Sou-ke youth as a way to actively engage the community with the artwork. The project is commissioned by T’Souke Arts Group (TAG) with support from the Canada Council for the Arts and is expected to be completed in the fall of 2023.

Commissioned by Pacific Opera Victoria, the Pole will comprise 14 custom cut second-growth cedar beams assembled into the size of an old-growth tree. To facilitate this process and engage student learning, Carey is collaborating with Camosun Innovates to develop a project with their mechanical engineering program. This will be supported by the National Science Research Council. The project is aiming to be completed by spring of 2024.

Creating a virtual reality version of the Witness Blanket is an effort to make the artwork more accessible to a wider audience, especially to remote communities and educational institutions. Carey is also inviting Indigenous peoples from across Canada to contribute sounds associated with their culture to help bring the virtual work to life. He is partnering with Camosun College, the Canadian Museum for Human Rights, Telus, and the University of Victoria to make this project possible. Listen to Sound Contributions

A commissioned collaborative project with German contemporary artist Marcus Kiel and funded by the Brost Foundation. The work will examine the history of resource extraction of steel and coal in Germany, and deforestation in Canada. “Wood Meets Steel”, a working title, will be installed in Gelsenkirchen on the site of a former coal mine.

An ongoing project with the University of Victoria, Carey is working towards designing a 3D model for a cedar totem pole - one that will be carved generations from now after a sapling planted on campus reaches full maturity. The aim of the project is to create a plan that can be committed to for decades to come. The work opposes standard four-year election cycles or fiscal year ends, as a way to nourish our relationship with the land and question colonial systems in power.

Developed for PC Urban, Past, Present, Future is a large installation of Core 10 steel. The work depicts three spindle whorls that represent each facet of the title respectively. Each spindle whorl will be placed adjacent to the other. However, the viewer will be unable to see all three head on to reflect the nuances of looking at the past, the present, and into the future.

Carey is currently developing an integrated artwork design on the upcoming Telus Ocean building in downtown Victoria. The premise of the work is memories of xwsзyq'әm, which is the Lekwungen term for the James Bay mudflats that once existed in and around the inner harbour of Victoria B.C.

An ongoing collaborative project between Carey and the Victoria Cool Aid Society, where Indigenous clients can link their recovery within the cultural context of carving a totem pole.