Lyle Wilson
Born in 1955, Lyle Wilson is a Haisla artist from Kitamaat Village, which is near the town site of Kitimat, British Columbia, Canada. The Haisla Nation is often referred to as Northern Kwakwaka’wakw; however, their historic artistic style has influences from various sources – notably Kwakwaka’wakw and Tsimshian, as well as developing distinctive qualities of their own. The name Kitamaat means, “People of the Snow” and refers to the large amount of snow received by this region. Tsimshian people visiting the Haisla people in mid-winter arrived to see people emerging from big houses completely buried by the snow so the name Kitamaat seemed an appropriate description.
The Haisla Clan system is matrilineal and although he was born into the Beaver Clan, Lyle was formally adopted into his father’s Eagle Clan. Due to the high death rates at this time, his Eagle grandmother formally adopted both Lyle and his sister to help ensure the continuation of the Eagle Clan. This was a small but important event, which helped shape Lyle’s view of Haisla culture.
Lyle was always conscious and appreciative of Haisla art, which was present in his formative years. In this regard, his first artistic influence was his uncle, Sam Robinson, who is a full-time carver. Fascinated, Lyle watched him and occasionally whittled to the best of this abilities. He did not pursue art as a possible profession until he attended the University of British Columbia. At this time, he committed to a career in art education, but found time spent in the studio more compelling – eventually leaving to pursue his own artistic interests at the Emily Carr College of Art and Design. He graduated with a diploma in printmaking and began to develop his individual style. This artistic style has its roots in graphics, but also envelopes his three-dimensional works in wood and jewelry.
Today, a renowned artist, Lyle works closely with University of British Columbia’s Museum of Anthropology where he has further pursued his interest in replicating historic Haisla art for future generations to understand and visualize. Lyle has been involved with many important private and public commissions that have aided in the awareness of Haisla art.
Additionally, he has been involved in a number of group and solo exhibitions since 1981 both locally and abroad. Some of his public commissions can be viewed at the Museum of Anthropology, BC Sports Hall of Fame, Canadian Consulate in Osaka, Japan, Canadian Institute for the Blind, EXPO 1992 and at the UBC First Nations House of Learning.
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Eulachon Canoe Mountain [Framed]
Lyle Wilson
$675.00 CADIntaglio Print on acid-free paper
Edition of 50
2016
13 x 11.5″ (Paper size)
7 x 5.25″ (Image size)
“My first experience actually seeing traditional carving in situ was fishing eulachon at Kemano. I saw graveyard memorials (ah-aluuch-tin): grey, weather-beaten and somewhat moss-covered, but very impressive in their natural state and site. Although I didn’t know it at the time, it was part of the beginning of my life-long interest in Haisla culture.
The eulachon fish are special to the Haisla people. At Kitamaat, there is a mountain that has a dip in its outline which the Haisla liken to a canoe. When the sun set in this ‘canoe-dip,’ that signaled that the eulachon were about to spawn in the Kitamaat River and all the Haisla eagerly awaited them!
The wildlife that also pursued eulachon was a true natural phenomenon: eagles, seals, sea lions, crows, ravens, seagulls, otters, mink, sawbill ducks, halibut, porpoises, bullheads, and undoubtedly many others one couldn’t see! To represent all of these creatures in one image, a raven, seagull, sea lion and bullhead are shown, each with an eulachon close to their mouths.
The sea gull is important because Haisla history likened the thousands of gulls flying around the estuary of the Kitmaat River to a giant monster’s mouth; therefore, Kitamaat was a place avoided until the first Haisla settled there.
A young Haisla girl sat on the riverbank and watched as a bullhead waited on the river’s bottom and let the current sweep eulachon into its wide mouth. The traditional net (tak-calth) used to fish eulachon also has a wide mouth and also tapers to a narrow end like a bullhead’s body. A bullhead is shown with a net-like pattern on its body, alluding to the tak-calth’s inspiration.”
-Lyle Wilson, 2016
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Ḡax̄ (Raven) Pendant
Lyle Wilson
$4,000.00 CAD18K Yellow Gold, Platinum, Engraved, Textured, Chased, Repoussé
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Gax (Raven): Shamanic Version of Light
Lyle Wilson
Price upon requestMarine Ivory, Abalone shell
(Stand Included)
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Nolax’s (Sea Lion) Miya (Salmon) Journey
Lyle Wilson
Price upon requestMarine Ivory, Abalone shell
(Stand Included)
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T́hax°an (Red Cod) Pendant
Lyle Wilson
$700.00 CADSterling silver, Engraved, Stippled, Textured
Silver Omero chain sold separately
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Ta’q°a (Octopus) Pendant
Lyle Wilson
$700.00 CADSterling silver, Engraved, Stippled, Textured
Silver Omero chain sold separately
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Nanakwa 6: Coloon, Exstookoya & Ancestor
Lyle Wilson
Price upon requestYellow Cedar wood, Acrylic paint
Breaking Dawn 6: Beaver Eagle and Ancestor
“Nanakwa: The Return Series” is a series of carvings undertaken by master Haisla artist Lyle Wilson. The series, whose name appropriately translates to “Breaking Dawn”, is the reinterpretation of historical finds from Lyles home, the Haisla village of Kitimat.
With an impressive career spanning over thirty-five years, and the privilege of once being the Museum of Anthropology’s artist in residence, Lyle has had the unique opportunity to work with and learn from historical artworks and artifacts from past generations.
The Nanakwa series was inspired by the scrupulous studies of four age worn “Jew-Chum” (House-Posts) in the Museum’s collection. Lyle was able to uncover carving and painting details which had been lost over the centuries. These original artifacts were recovered by Methodist Minister G.H Raley in the 1800s.
With this deeper understanding of the historical pieces, Wilson has gone on to create a set of unique pieces that pay tribute to the knowledge of his ancestors.
“In this manner I can respect the achievements of the previous traditional HAISLA carvers that created the old JEW-CHUM yet add my own touches to the mix — essentially meaning I can intellectually “reach out and touch base” with those old masters!”
The piece outwardly resembles the Coloon Jew-Chum from the museum, but on closer inspection he has re-worked the design and taken stylistic influence from the other Jew-Chums in his studies. A prime example being the style of form-line painting which is particularly evident on the ancestor figure’s head is something he had uncovered on another Jew-Chum.
“I conducted 5 days of inch-by-inch examination of the JEW-CHUM and based on that research, spent another 5 days completing 4 color-drawings which “revealed” each house-post’s hidden formline paintings.”
“Nanakwa 6” focuses on ancestry; both in how Lyle has beautifully re-imagined his ancestor’s work, and also in what this piece depicts. Wilson was born into the Coloon clan and later in his life he was adopted into the Exstookoya clan. The piece tells the story of Lyle personal heritage and of those who came before him.
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Dorsal Fin Carved Quarter Pendant
Lyle Wilson
$430.00 CADCanadian Centennial Commemorative Lynx Quarter (1967) [80% silver, 20% copper], Engraved
