Legacy Wall

Leaving a legacy can be easy and a meaningful way to remember our loved ones in our community. 

You can leave a legacy to the Campbell River Hospice Society in a variety of ways through your estate planning or in memory of a loved one. Creating a lasting legacy is an extraordinary way to keep yourself or a loved ones' memories alive. A legacy can have a great impact on the Campbell River Hospice Society for many years to come and ensure loving and compassionate support is available for many generations to come.

 

We are deeply thankful to receive a legacy gift and will cherish your support through the existence of our organization. There are various levels of support available in the Legacy program. learn more

Tony and Leslie Palmer Coon

Tony and I feel extremely passionate about the services that the Hospice provides to the community and understand the importance of maintaining these services.  That is the reason why we decided to 'Leave a Legacy' so it would help benefit future generations.​

Eileen McKay

At age seventeen, Eileen McKay left behind a conservative Oak Bay upbringing to live on the West Coast of Vancouver Island. Here she began to explore the extraordinary forest and ocean landscape, working with paint, as well as whalebones, sticks, stones, earth, and feathers.

Introduced to native culture, she was influenced by artists Joe David, Godfrey Stephens, and Roy Vickers.

 

In the fall of 1979, she moved to Vancouver to study fine art at the Emily Carr College of Art and Design. Then, back in Tofino, she designed fund-raising graphics for the Save Meares Island campaign. Her artistic activism also led her to erect political signs along the highway to

Tofino.

 

With Meares Island spared from MacMillan Bloedel’s chainsaws, McKay returned to Victoria for further studies in fine art and spent two seasons tree-planting. In the fall of 1987, she moved to Salt Spring Island and began constructing her first native shield of sticks, feathers, and stones.

Long fascinated by Navaho sand paintings, ancient petroglyphs, and the use of the circle to invoke the integrated wholeness of all life, she found it only natural to create a series of mandalas the following winter. Further explorations in a life that has become mandalic include a sign on Salt Spring facing the Crofton pulp mill and earthworks high on Mount Maxwell.