Working with Indigenous Communities
At Shell Canada, we acknowledge the rights of Indigenous Peoples and strive to positively contribute to reconciliation with Indigenous Peoples and communities in Canada by recognizing Aboriginal and treaty rights, the diversity of Indigenous cultures across the country, and by jointly seeking opportunities to work together for mutual benefit.
Working closely with Indigenous communities
Many of Shell Canada’s sites and operations are located near Indigenous communities or on traditional lands of Indigenous Peoples. What we do impacts the land, Indigenous communities and their ways of life and traditions.
Shell Canada is committed to working closely with Indigenous Peoples and communities to build and maintain effective, long-term and mutually beneficial relationships. This is accomplished through transparency, mutual respect and trust.
Sarnia Indigenous Art Installation
Meet John Williams
If you are lucky enough to encounter one of his paintings and can almost hear the heartbeat of a drum or smell the smoke from a smudging, then John has achieved his goal – that you feel something.
John’s impressive talent, coupled with his focus on Indigenous culture and people, is part of the reason Shell Canada commissioned him to design and paint a mural for a storage tank at the Sarnia refinery to commemorate the site’s 70th anniversary.
John is a member of the Ojibway tribe and Aamjiwnaang First Nation in Ontario. A graduate from Ontario College of Art & Design, he has been painting for more than 16 years and had his first solo show in 2008.
Watch the video to learn about John’s story and his collaboration with Shell.
Celebrating Culture in Sarnia
Accessibility Transcript - John Williams Mural for Shell
Title: Sarnia First Nations Tank Mural Install Video (John Williams, Artist)
Duration: 7:16
Description:
In celebration of 70 years in St. Clair Township, near Sarnia, Ontario, Shell Canada commissioned John Williams, a local First Nations artist from Aamjiwnaang First Nation to create a painting/mural for a tank at the Shell Sarnia Manufacturing Centre. This is a short film that comprises footage of John Williams, artist, in his studio at work. He is interviewed and we see him in his community, with his son and at work.
[visuals]
Film opens on shot of John Williams behind painting easel.
Then we see blank canvas.
[music]
Gentle music plays
[visuals]
John Williams on camera interview
[text]
John Williams
[John’s voice]
So I worked 16 and a half years as security at a hospital.
[visuals]
We see John driving car, with his son
[John’s voice]
Last day of work. December 3rd I think was my last shift -- laid off. We knew it was coming, but laid off.
[visuals]
Close up sweet grass braid hanging on car mirror, then John’s sunglasses in mirror.
[John’s voice]
I thought to myself, what, what am I gonna do next?
[visuals]
Montage of photos and drawings showing John and his son, Theo, on bulletin board.
Close up of photo of John and son Theo.
[John’s voice]
I had a choice to make. It was either, you know, get back out there or go to work right now. But it was nice to be able to, to just take a few breaths.
[visuals]
John on camera interview.
Then driving in car with son. He honks at friend walking on road.
John at easel looking at canvas, camera moves into close up.
[John’s voice]
So I always painted. So I went, and I started painting again. The financial risk was like, ‘Hey, you're not getting paid every week now,’ you know.
[visual]
Photo of John and son.
Cut back to John on camera interview
[John’s voice]
But this is where my heart is taking me right now, and this is what I'm gonna do.
[visual]
John and son arrive home and walk in front door.
[music]
Changes to uplifting piano driven track
[visual]
Close up hands with lighter, lighting flame on sweetgrass, cut to smoke from sweetgrass washed over hands.
Cut to paint blobs mixed on a palette.
[John’s voice]
I had a lot of ideas kicking around, a lot of things I wanted to put down on canvas.
[visuals]
John painting at easel. Close up paint mixing. Close up finished artwork montage, with hint of First Nations indigenous style and motifs. And we see close up signature: John Williams 2022.
[John’s voice]
It was very productive. First few months I finished around five, six pieces.
[visual]
John on camera interview
[John’s voice]
That was really satisfying to be able to do that, to get those out there and get 'em painted, you know, I had to get that out. I got it out now. There it is.
[visual]
Close up paint mixing. Cut to still photo on wall, showing John next to Vincent Van Gogh painting. Then close up of Van Gogh portrait. Then close up moving shot of Van Gogh’s Starry Night.
[John’s voice]
Inspiration comes from a lot of places. Vincent Van Gogh, he is the true artist. It's the true passion of mixing your paints and putting your images on that canvas with such love, such confidence in the brushstrokes, you know?
[visual]
John on camera interview
[John’s voice]
So that, that's what I see. That's how I feel when I see his work.
[visual]
Close up of John’s work that shows echoes of Van Gogh work.
Cut to photo of John as young boy, with Grandmother.
[Music]
Changes to gentle piano and slide guitar with nostalgic feel
[John’s voice]
When I was small, my grandma would hand me crayons, markers, anything to colour with. I think it was encouragement of creativity. That's how I got into it.
[visual]
Close ups of drawings by a child, showing signature John Williams 1984. Images look like plains First Nations historical motifs with guns, arrows, warriors, tipis, eagles, buffalo .
Cut to more sophisticated water colour of cranes in water. 1990.
Cut to painting from 2008, showing mature skill of John as artist, showing a First Nations man calling or singing.
[John’s voice]
It kind of evolved from there. One lesson she taught us: just be yourself. You know, you're an Indian, be proud of that. You know, she's a story of survival to me.
[visual]
We cut back to photo of John as child, with Grandmother, then to John on camera interview.
Then we cut to John and son Theo, back in studio. Theo stands next to John while he shows him some sketch techniques. We cut to John and Theo at his main canvas with dramatic Ojibway warrior headdress. Theo points to painting with brush in his hand. John shows him brush strokes.
[Theo’s voice]
How do you paint those?
[John’s Voice]
Everyone of those is a single brushstroke.
It really means everything to me too, to be able to share who, who I am with him.
[visual]
John on camera interview. He puts his hand on his heart
[John’s voice]
Did the security guard thing for a bit. That kind of stuff. That’s a job. But this is who you are.
[visuals]
Cut to John putting paint on Theo’s hand. Cut to John pressing Theo’s hand up against the canvas to make a print.
[John’s voice]
Being a father. Like, uh, it's all new to me. Like, cause I was, I never had, like, the father touch, I guess.
[visual]
John on camera interview. Cut back to John high-fiving Theo, both with paint on their hands.
Cut to close up of two hand prints on the canvas, John’s and Theo’s.
[John’s voice]
<laugh> Another one? Another one. Oh! okay!
[visual]
John on camera. Then cut to long shot of John and Theo walking in woods, along a field, walking and talking together.
[John’s voice]
It's all a new experience to me, and it's all, uh, it's wonderful.
[music]
Changes mood from nostalgic to serious, apprehensive
[visual]
Water tower with Shell pecten logo, then wide shot of Shell Sarnia Manufacturing Centre entry gate and signage. Cut to John on camera interview.
[John voice]
I got this call from Shell about wanting a mural, a painting for a tank. And I thought ‘one of those big tanks? You want something painted on a tank?’ And I said, ‘I've never done anything like that before. I, it's, what do they, you know, what do they, what do they want?’
[visual]
Behind and above John’s shoulder, he’s in his studio sketching. Cut to close ups to reveal sketches of traditional Ojibway figures, animals, motifs. Jump cut through multiple iterations of sketch ideas. Cut back to John on camera interview.
[John voice]
I mean, it might be a little bit nerve-wracking. You think and think and think and then -- don't overthink it. You'll find it. You'll find it.
[visuals]
Sequence of shots intercutting between John mixing paint close ups, then tending an open firepit in his backyard, and various shots of him painting at the canvas in his studio. Wolf. Eagle and fish. Details touching up. Close ups of fire.
[music]
Builds with horns and flute, orchestral sound swelling
[visual]
Shot of smoke moving up through trees.
Cut to John sitting at fire, side portrait, hands clasped in front of him. Contemplating.
Cut to Wide shot of John working on his large canvas, surrounded by walls covered in memorabilia and art work.
[John’s voice]
Well, I'm sure some people are gonna see it like that: ‘selling out.’ If some people think: ‘why are you doing this work for them?’ It's not selling out.
[visual]
John at canvas, painting moon over Wolf, next to Ojibway drummer and dancer on canvas. Cut to John on camera interview
[John’s voice]
They gave me a blank canvas to share our culture, to show, show the world who, who we are. So I'm gonna take that shot. What if I didn't do it?
[visual]
Cut to aerial view of forest. Shot tilts up to reveal houses in forested area, and in the distance, a refinery plant and the St. Clair River.
[text]
Aamjiwnaang First Nation, Ojibway Territory
[John’s voice]
Born into this, I guess this is all I've ever known, was to be here right here in the heart of this,
[graphic]
Map of Canada zooms into Sarnia area map, showing Lake Huron, Sarnia, Aamjiwnaang First Nation, St. Clair River
[John’s voice]
because Aamjiwnaang is set here and all the way around, North-South, are all refineries.
[visual]
Signage next to River, says “Sarnia Indian Reserve. Aamjiwnaang Est. July 10, 1827” with tanker ship cruising along water in background.
[music]
Changes to Powwow drum song by Snake Island Singers, with heavy drum beat and Ojibway singing.
[visual]
Cuts to fire burning in fire pit, tended by John, standing strong. Camera pans up to reveal him. He wears T-shirt that says Every Child Matters.
[John’s voice]
We defended the territory at one time and we still do, but just in a different way.
[visual]
Cut to close up of John’s canvas in his studio, showing Ojibway singer, panning up from drum to show expressive singing face, cutting to close up of fierce Ojibway warrior face painted yellow, with warrior headdress.
[John’s voice]
The dances are still here. The songs are still here. The ferocity of the Ojibway warrior who defended these shores, they are still here. The ceremonies are still here.
[visual]
Cut to close up hand holding feather ornament, camera pans across to face of female figure in painting, wearing purple “jingle dress” with metal bells and horse motif on her back. Wide shot shows John continuing to paint the Wolf moon. Close up as John paints.
[John’s voice]
And the jingle dress is, uh, that's why I put the dress there too. It's a, it's a healing. That’s for all, for all our people. For everybody.
[visual]
Cut to John outside carrying a handful of cedar branches and bread pieces as an offering, he places it on the fire. Cut to it burning. He places more branches on fire.
Cut to dramatic montage reprise of images from his large canvas, showing the faces of the Ojibway characters in his painting.
Cut to interior truck, doors are opened by men in work outfits and hardhats. Close up of many colourful rolls in a pile. They pull rolls of material out of truck and begin carrying these on worksite. Men are wearing fall protection harnesses over their coveralls.
[John’s voice]
This is something I truly love. I truly love doing this. That's what I want you to see. Putting down these brushstrokes, expression, showing feeling -- doesn't matter what anybody thinks of it. Just do it. Do it the way you wanna do it.
[music]
Changes to piano orchestral piece that builds from soft to triumphant from here to end of the film.
[visual]
John on camera interview
[John’s voice]
This is you, you know, this is where you're coming from. This is, you're taking this right from the depths of your, your soul.
[visual]
Cut back to workers on a lift, rolling material onto a tank.
Cut to large refinery tank with large black material hanging in front of it, suspended by cranes.
Cut to crowd of people all gathered, and looking in the direction of the tank, with cameras ready.
And we see John at podium, in front of tank with black material in background, standing next to his son, speaking to crowd.
[John’s voice]
I’m just looking forward to keep right on going. Keep right on going with it -- keep going strong with it. That's my plan.
[visual]
We see black material falling down from tank in background, people in foreground are looking on, taking photos.
Cut to close of John’s smiling face in studio as he paints.
Cut to John on camera interview, he gestures with his arms creating a circle reaching out.
[John’s voice]
In our culture, there's…one of the teachings is to respect the views and the, and the culture and the religion of another person and welcome them in your circle.
[visual]
Cut to dramatic aerial drone shot flying in over trees to reveal John’s painting “Ojibway Spirit” installed on large refinery tank in context of Shell Sarnia Manufacturing Centre. Camera flies in and moves up close to see details of artwork on tank.
[John’s voice]
To share our culture with the world -- It's, uh, yeah, that's an honour, (to be) asked by Shell to do that. And I can give this back to my people and to anybody who wants to… to share this with anybody,
[visual]
John on camera interview
[John’s voice]
to share this with the world.
[visual]
Cut back to drone shot that does a reverse fly-out away from artwork and tank to create a wider shot, bird flies across the scene.
Cut to drone shot over St. Clair river, showing green banks, and boats on water.
[text]
We are inspired by John Williams’ commitment to his art, his family and his community.
Shell Canada is honoured to share his artwork as part of our celebration of 70 years in St. Clair Township, Ontario.
And we welcome the ongoing opportunity to listen and share with our Indigenous neighbours.
[graphics]
Shell Pecten comes up over drone scene
[music]
Above music fades, as Shell Brand mnemonic sounds in gentle guitar
[text]
Shell Canada 2022
Our commitment guides us to
- Strive to increase understanding of Indigenous cultures and traditions by delivering awareness programs to Shell personnel and participating in Indigenous celebrations.
- Work in collaboration with Indigenous Peoples and communities in Canada to provide sustainable employment, business and educational opportunities from exploration, through operations and into closure.
- Continue and seek ways to improve Shell Canada Human Resources strategies and resources specific to the attraction and hiring, retention and inclusion of Indigenous people within the Shell workforce.
Elements of our strategy
Community Engagement
The goal is to demonstrate our commitment to Indigenous Peoples and communities by engaging and consulting meaningfully in a respectful and inclusive manner; and, to provide progressive benefits by developing and fostering trust, credibility and to meet the intent of the United Nations Declaration on the Rights of Indigenous Peoples. The actions focus on: Engagement & Consultation, Advocacy and Emerging Issues, Indigenous Agreements and Actions for Reconciliation.
Business Development
The goal is to provide sustainable local economic benefits to impacted Indigenous communities through healthy, market-competitive direct and indirect commercial relationships. The actions focus on: Local Contracting, Local Enterprise Development and Local Workforce Development.
Community Investment
The goal is to establish mutually beneficial relationships between Shell and Indigenous Peoples and communities. Shell’s community investment will contribute to long-term improvements in the quality of life and help create an environment conducive to sustainability. Shell will engage in community investment efforts across Canada as a way to promote sustainable development, build local capability and foster healthy communities. The actions focus on: Education, Community Development and Health, Safety and Environment.
Employment
The goal is to invest in the Indigenous Peoples future employable workforce, hire employment-ready Indigenous people, and create an inclusive and supportive work environment to retain and promote the Indigenous people Shell employs within their workforce. The actions focus on: Attraction & Recruitment, Inclusion/Retention/Development/Advancement, Aboriginal Employee Network, and a Future Employable Workforce.
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