A shadow is formed by the presence of a form disrupting light. Paint, cracked and faded, conveys the presence of sunlight, weather, and the passage of time. An empty pedestal suggests the absence of a statue… but was it torn down, removed for repairs, or is it yet to be installed? Do freshly plowed fields indicate the absence of crops or signal fresh crops to come? And what becomes of the forests, animals, and grasslands displaced by agriculture? 

For this project, Carey created animals to be projected against walls of the concert hall to “illustrate” Seattle Symphony’s performance of Jerod Impichchaachaaha’ Tate’s “Chief Spirit Names the Animal People.”

A totem that will present as a welcome figure for T’Sou-ke Nation.

Unveiled in 2025 at the Baumann Centre, Ḵ̓a̱mtila – To Write a New Song was more than a decade in the making.  Carved from 14 pieces of second-growth red cedar it reflects both deep cultural tradition and urgent environmental realities.

A private commission that is three stories high depicting a dragon and tiger.

A collaborative art piece created with Jordan Hill and Omid Afarinzad that resides in the Esquimalt Town Centre.

All My Relations is a stainless steel installation in the Dogwood Auditorium at Royal Roads University. The design speaks to the concept of the Kwakwak’awakw term awi’nakola, which means to live in good relations with the land, air, water, spirit world, and everything within them.

The Witness Blanket was featured as Canada’s “Guest of Honour” at the 2021 Frankfurt Book Fair.

Beginning in 2018, Hearts and Hands was a project with Oaklands Elementary to integrate authentic Indigenous learning into the classroom in a “hearts on, hands on” manner.

A private commission carved to represent each member of the owner’s family.

A totem carved for the Cowichan 2008 North American Indigenous Games, with the assistance of over 10,000 people in British Columbia.

A large-scale commission for the 2010 Olympic Games, consisting of four large panels created from stainless steel, cedar, and glass.

As a tribute to Emily Carr’s works, Haida Totems, Cha-atl (1912) and Big Eagle, Skidegate (1929), Carey designed and carved a wooden house front and eagle statue in Chemainus, B.C.

For the EAGLE Project, Carey collaborated with Indigenous youth to carve two totem poles. The project was one facet of a program for youth empowerment through the Victoria Native Friendship Centre.

A public installation in Wood Buffalo, Alberta that reflects the significance of humility in both concept and material.

Beginning as a small community project, it evolved into a mentorship program, as Carey designed the mural and commissioned two students at the University of Victoria to paint it.

Developed for PC Urban, Past, Present, Future is a large installation of Core 10 steel.

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.