Lyle Wilson
Haisla Nation
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.
Works by this Artist (Present + Past + Public)
Present Works
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Halibut Pendant
Lyle Wilson
SOLDBoxwood, Sterling silver
As part of this exhibit NUGWA (I/me) decided to carve small, off-cut pieces of wood into a series of jewelry, because the medium of wood, itself, has an inherent beauty!
The HAISLA word for a pendant is NEE-CHA-WA — and the series of NEE-CHA-WA are carved at a fine jewelry-scale because NUGWA love wood and don’t want to throw away even small pieces of them. NUGWA first started in the jewelry field so when NUGWA got into carving wood, applying jewelry skills to such small pieces of wood was a “natural” progression.
This MOO-MOO-GA-JOO (halibut) is a specific crest belonging to two HAISLA clans: IKSDUQ’IYA (Eagle Clan) and the GEE-GA-JOAUCH (Beaver Clan).
Lyle Wilson 2024
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Orca Model Pole
Lyle Wilson
RESERVEDYellow Cedar wood
37 x 9.5 x 6″ (model pole only)
44 x 12.5 x 8.5″ (including plexi-glass case)HULL-CHEY-NAUCH is the HAISLA word for an orca (past terms are: Killer Whale and Blackfish).
There are HULL-CHEY-NAUCH clans in most — if not all — Pacific Northwest groups and NUGWA (I/me) attribute that to our ancestors witnessing, and admiring, the majesty, beauty and intelligence of the wild HULL-CHEY-NAUCH.
In the olden days it was believed that the HULL-CHEY-NAUCH lived in a traditional GYUU-AUCH (bighouse) under the AH-AH-WAUCH (sea/ocean), and there was a HULL-CHEY-NAUCH
HEY-MAS (chief). He ruled over the rest of the HULL-CHEY-NAUCH and the other creatures of the AH-AH-WAUCH. The HULL-CHEY-NAUCH could also take off their outer-skin to reveal their human forms.The HULL-CHEY-NAUCH HEY-MAS was rich, powerful and feared by mortals. He is depicted on this GLA-GLA-QWIL-SALA (totem pole) with his head at the bottom and his tail on top — the dorsal fin connects both and the pectoral are on both sides.
The HULL-CHEY-NAUCH we see today, are considered to be descendants of the historical, myth-time HULL-CHEY-NAUCH.
Lyle Wilson 2024
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Shaman & Salmon Model Pole
Lyle Wilson
RESERVEDYellow Cedar wood
58 x 8.5 x 6.5″ (pole only)
65 x 11.5 x 10.25″ (including plexi-glass case)
This GLA-GLA-QWIL-SALA (totem pole) is more of a sculpture and unlike a traditional GLA-GLA-QWIL-SALA, it doesn’t “tell” of a particular clan’s history. Instead it’s about our decimation of the MIYA (fish/salmon) stocks — once so numerous, that the old people said a person could, “walk across a river, on all the salmon backs, without getting your feet wet”.
The decline of the MIYA continues today — specifically the 5 species of MIYA: CABEES (Spring), HEYSEN (Sockeye), KAPEE (Pink), ZAWEN (Coho) and GWAXANEES (Chum). The GLA-QWAH-LAMAS (steelhead) is large ocean-going trout that many think of as a “salmon”.
The Pacific Northwest Coast (PNC) people valued the MIYA because it was their single, most important food source. The MIYA was celebrated with ceremony, song and art. The HAISLA considered them so important that NUGWANIS (we) have a MEE-MEE-NEE-NAUCH (Fish Clan).
Many PNC people call the MIYA “The Swimmers”. During their life-span they may journey afar, but they always returned to their home-rivers so people could always depend on such a food-supply. People also likened the return of the MIYA as the biggest potlatch of all, because everything depended upon them for food: people, SAX & DAY-QWA (grizzly & black bears) , SAWGUM (seal), MOO-MOO-GA-JOO (halibut), GAX (raven), IKSDUQ’IYA (eagle), etc. So it was said the MIYA “gave the biggest potlatch of all” because they gave up their lives to feed so many creatures.
MAMIYA means, “To fish” in the HAISLAKALA language and NUGWA (I/me) have fished in the sports, food and commercial fisheries and seeing so many MIYA caught was both sad and exciting!
Sad when one thought of the deaths of such beautiful creatures, yet still appealing to our age-old instinct to catch food.
On the bottom of the GLA-GLA-QWIL-SALA a chanting HEY-LEE-CLA (shaman) is standing on a KWEE-KWEE-NAUCH (frog). Surrounding the HEY-LEE-CLA are many of his strange, fantastical spirit-helpers, which no- one really knows exactly what they are. One suspect, and unfortunate, soul is tied up to try and extract his “confession”.
There are a few other smaller HEY-LEE-CLA in their respective shamanic trances; all trying their best to be helpful in this particular spirit-quest.
One HEY-LEE-CLA is in an old-style GELWA (canoe) — it was believed the HEY-LEE-CLA entered into a trance and then journeyed to the spirit-world, in such a GELWA.
In this spirit-world were the lost-souls of a school of MIYA, being prevented from entering our world. The HEY-LEE-CLA and their helpers are
trying to find a way for the MIYA to return, spawn and repopulate the WA (rivers) of our world — a worthy goal whether one is a HEY-LEE-CLA, sport, native-food, or commercial fisherman; or just an ordinary person.
Decades ago, NUGWA was part of the 5-man crew of large commercial seine-fishing boat and we used a very long net to catch MIYA. After one such set with all that time, effort and cost expended, we caught one MIYA!
Our captain remarked: “That’s a lonely salmon!”
When NUGWA was much younger, there were still humungous numbers of MIYA — not as much as the older generations witnessed, but still mind-boggling. Now, the MIYA stocks have been so severely diminished some are labeled as being an endangered species.
So this GLA-GLA-QWIL-SALA is really a metaphor — as the HEY-LEE-CLA are for us — about the past and future of the MIYA. Hopefully the “HEY-LEE-CLA” will be successful in their quest and there won’t be any more “lonely MIYA” in our world.
Lyle Wilson 2024
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Pacific Northwest Coast Homage Totem Pole
Lyle Wilson
RESERVEDYellow Cedar wood
Stone base
58.5 x 4.5 x 4.25″
60 x 9 x 6″ (including base)This GLA-GLA-QWIL-SALA (totem pole) is my homage to various native groups on the Pacific Northwest Coast (PNC).
NUGWA (I/me) have been familiar with some of these neighbouring groups from a young age.
When NUGWA entered the University of British Columbia and one of my courses included PNC art, my interest grew greater since NUGWA actually knew people from neighbouring PNC groups.In addition NUGWA was introduced to the UBC Museum of Anthropology (MOA) and it’s helpful staff and fascinating collection of PNC artifacts — in turn my MOA experience led to visiting more museums and their staff.. In short, it was a pretty comprehensive “learning experience” into the old traditional cultures of the PNC. So over the last 50 plus years, NUGWA expanded my interactions with a very broad range of both native and non-native folks.
It has been a very rewarding experience!
At university, NUGWA first saw an anthropological map of the PNC linguistic groups that was vertically-oriented from north to south. Much later NUGWA painted my own map that was similarly arranged; it not only showed the various linguistic groups but also had a decorative border of PNC formline animals. Meanwhile — to name a few — NUGWA kept meeting more folks from many of the original native peoples: Tlingit, Tahltan, Metlakatla (B.C & Alaska), Gitxaala, Gitga’at, Kitasoo, Lax Kw’alaams, Gingolx, Gitlaxt’aamix, Gitwinksihlkw, Laxgalts’ap, Kitselas, Gitxsan, Haida, Haisla, Heiltsuk, Nuxalk, Kwaguithl, ‘Namgis, Dzawad’enuxw, Tseshaht, Hupacasath, Ahousaht, Hesquiaht, Tla-o-qui-aht, Chinook, Tla’amin (Sliammon), Squamish, Tsleil-Waututh and Musqueam.
All these connections made an impact so NUGWA started thinking about all these people and how much they’ve enriched my life — some were artists, carvers, singers, dancers, chiefs, politicians. Still others were from different walks of life and were equally interesting, intelligent & talented people and many became friends.
So that became the basis for this GLA-GLA-QWIL-SALA where each general linguistic PNC group is represented by a carving that’s supposed to be in their style — it’s my way of honouring their contribution to life; not just my life either!
NUGWA must admit that many native people who are not from the PNC, as well as many non-natives, have also enriched my life, but this piece of wood wasn’t big enough to accommodate everyone — so it’s possible that an even more inclusive GLA-GLA-QWIL-SALA may be in the future somewhere.
Lyle Wilson 2024
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Shaman Rattle
Lyle Wilson
SOLDYew wood, Acrylic paint
Stone and metal display stand
12.5 x 7.5 x 6.25″ (rattle only)
13.75 x 7.5 x 7.5″ (including stand)To the HAISLA, GLUMC (Yew) was a special wood— it’s wood, bark and needles were boiled in hot water to make a “tea” that cured various sicknesses.
Shamanism was once widespread amongst all Pacific Northwest (PNC) native peoples. Very little is known about the actual practices of shamanism, but in those early years people strongly believed in the HAY-LEE-CLA (shaman) and his powers; both AIX (good) and YAX (bad).
A YADEN (rattle) was part of a HAY-LEE-CLA’s regalia — their rattling sound alerted the spirit-helpers that their presence was needed. Quite a few shaman’s YADEN are a large, round shape — this new YADEN conforms to that rounded format.
The front of the YADEN consists of a large face, and within its’ eye sockets are 2 smaller faces; still within those faces are four more faces — bringing the total number of faces to seven. All of them alluding to the spirit-helpers of the HAY-LEE-CLA.
The YADEN’s back has an abstract formline face, shallowly carved and painted. Occupying the centre is a small KWEE-KWA-NAUCH (frog) — an animal able to live in the two worlds of the land and water; this dual ability was believed to be a magical power.
This YADEN is carved from a very large piece GLUMC log (the tree itself was aprox. 350 years old) found, and salvaged, from an abandoned, commercial-logging clear-cut area. So this YADEN is “especially” special because of GLUMC’s traditional usage, it’s rarity in modern PNC carvings, and the fact that a piece of the original, giant, ancient GLUMC tree has a second “life” — rather than eventually rotting away and being forgotten.
Lyle Wilson 2024
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Shaman’s Wand Sculpture
Lyle Wilson
SOLDYellow Cedar wood
27.5 x 4 x 3.25″
28.25 x 6 x 6″ (including base)This carving is an artistic exploration of the shamanic “world”. The HAY-LEE-CLA (shaman) used many implements to enhance his ceremonies, rituals and demonstrations of his magic powers.
One such interesting implement was a wand, or as some call it a baton — apparently used to keep time and rhythm during a chant or song, as well as to impress any viewer.
In this case the JM-DEE-GA (dorsal fin) of a HULL-CHEY-NAUCH (orca) is the background and various creatures are added which fit into a shamanic theme. From bottom to top on one side there are: a celestial face with 4 directional arrows, a strange fish-like creature with an arm and long tongue, MIYA (fish), chanting HAY-LEE-CLA, and a weeping KWEE-KWA-NAUCH (frog) on top.
On the other side there are: another celestial face, a worm, MIYA, upside-down TA-GWAH (octopus), 3 faces and the backside of the KWEE-KWA-NAUCH on top.
Apparently during a demonstration of HAY-LEE-CLA power there would be drumming, singing and chanting to call on various spirit-helpers to come help. During the drumming, singing and chanting a wand would be used in time with the rhythm; then at certain intervals the wand would be raised and prominently displayed in an impressive manner as possible.
In the olden days such a performance must have been quite an impressive spectacle because it was usually held at nighttime in a traditional bighouse, lit only by flickering bonfire which cast “dancing” shadows — such a dramatic setting left plenty of room for a viewer’s imagination to run wild!
Lyle Wilson 2024
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Nauch-Noo-Sem-Ghet Model Pole
Lyle Wilson
SOLDYellow Cedar wood, Abalone shell
Stone base
48 x 5.5 x 4.5″
49 x 8.5 x 6.5″ (including stone base)This is a story that came to the HAISLA, via inter-marriage, from the Ts’msyen people.
NUGWA (I/me) used this traditional story of an under-sea, supernatural HULL-CHEY-NAUCH (orca) HEY-MAS (chief) capturing the high-ranking wife of a man. The woman was brought to the underwater GYUU-AUCH (bighouse) of the HULL-CHEY-NAUCH HEY-MAS.
The abbreviated story essentially consists of the woman, on the beach, washing a valuable pelt — in some stories the pelt is from a albino HUN-GWEE-STA (sea otter); other stories have it as an albino SAW-GUM (seal). NUGWA have carved both on this GLA-GLA-QWIL-SALA (totem pole). The HULL-CHEY-NAUCH HEY-MAS then captures, then brings the woman to his underwater GYUU-AUCH.
The husband consults a DO-DUX-SWEELTH (person who is psychic) who tells him to paddle out to the AH-AH-WAX (sea/ocean) while keeping the setting sun on his right side and he would come to a WODEE (kelp) bed. Once he got there he tied his GELWA (canoe) to a WODEE and climbed down it’s long stem which was fastened to the bottom of the AH-AH-WAX.
In some stories, on the way down, he encounters guardians in the form of either a giant JEE-QWA (clam) or a giant GWAAS (mussel) — both try to clamp onto any trespassers so they would eventually drown. NUGWA carved one of each on this GLA-GLA-QWIL-SALA. The wife is eventually rescued from the HULL-CHEY-NAUCH HEY-MAS — he’s the bottom figure with the long JM-DEE-GA (dorsal fin) extending right to the top of the GLA-GLA-QWIL-SALA. Rope is carved on both sides because in other versions of the story the husband climbs down a rope; at the rope’s tops are 2 HULL-CHEY-NAUCH JM-DEE-GA. The AH-AH-WAX is shown as wavy lines adorning the entire GLA-GLA-QWIL-SALA.
Standing in the blowhole of the HULL-CHEY-NAUCH HEY-MAS is the beautiful wife — hopefully, like most love stories, her and her husband live happily ever after.
Lyle Wilson 2024
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Homage to Alfred Wesley Pole
Lyle Wilson
CA$55,000.00Yellow Cedar wood, Abalone shell, Acrylic paint
Stone base
58 x 8 x 7″
59.5 x 10.5 x 8.5″ (including base)This GLA-GLA-QWIL-SALA (totem pole) was inspired by an early HAISLA carver named Alfred Wesley — the older HAISLA generation remember him quite well: “he was an old man when I knew him… he was adapted out to the Haida at a very young age in the old Indian custom …. His father told him told him who he was and he moved back to KITAMAAT. He used to have an old, round washtub filled with water, which he kept small carvings in. He worked for awhile on each, put it back and worked on another till he got tired of it and put it back in the tub. He continued this until he finished each carving in the tub — it took (him) about a month to finish the tub full of his carvings. People used to call him DUH-DOOK-DA-MAH-DOS; his wife, Julia Wesley, was called JAH-BUS-DEE.”
Another elder said, “He used to come around to the house at mealtimes and eat with us. Eventually he gave Harry (her husband) a small model totem pole he’d carved and painted. Harry didn’t like the painting so he tried to “improve” it and he made it worse — he gave up and painted the whole thing black. He was from KITAMAAT but adapted to the Massett Haida (in) the old Indian way.”
Still another elder said, “he’s HAISLA and his brother was Edwin Wesley (he couldn’t remember the father’s name at that time). He learned to carve when he was over the islands… he’s buried somewhere up at the old graveyard. That’s one of his poles right there (pointing to a shelf).”
The 2 model GLA-GLA-QWIL-SALA were still in possession of the informants when NUGWA (I/me) talked to them circa 2000, and were very AIX (good) carvings. The UBC Museum of Anthropology also has a few of his carvings so DUH-DOOK-DA-MAH-DOS was an early influence of mine and that’s why NUGWA decided to pay homage to him by carving this GLA-GLA-QWIL-SALA.
My version is based on a model GLA-GLA-QWIL-SALA attributed to DUH-DOOK-DA-MAH-DOS. In turn, NUGWA believe that his
GLA-GLA-QWIL-SALA was based on a Haida story about the great flood that was believed to have occurred in the olden days — as the water rose up, the inhabitants of the GYUU-AUCH (bighouse) tried to escape by climbing the tall GLA-GLA-QWIL-SA in front of the GYUU-AUCH.So the “escapees” are on the GLA-GLA-QWIL-SALA, holding onto to each other — one wears a apron with a MUSAQ (rainbow) on it.
This is my own added detail because when NUGWA was growing up the introduced Christian religion’s influence was still strong and NUGWA was made to learn its “GREAT FLOOD” story; in which the MUSAQ became the symbol of the Christian god’s promise that another great flood would never happen again.
Lyle Wilson 2024
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Sun Soapberry Spoon
Lyle Wilson
SOLDYew wood
NUGWA (I/me) consider GLUMC (Yew wood) a special, and relatively rare wood, NUGWA kept many off-cuts and other scrap pieces — it’s recognizing our overall need to conserve natural resources. So NUGWA resolved to use, as much as possible, even small pieces of GLUMC so the original tree wasn’t wasted. This piece was an off-cut from a larger GLUMC carving (the growth rings indicated the original tree was approximately 350 yrs old.).
USS is a traditional dessert made from a berry that is beaten into a pinkish, foamy (hence the translation to “soapberry”) dessert and a paddle-like KA-JA-NAUCH (spoon) was used to eat it. USS was considered a true delicacy in the olden days and served on special occasions like potlatches and feasts — it’s still traded and eaten today.
Normally most Pacific Northwest Coast carvers don’t use GLUMC because it’s a very tough, wild-grained, and relatively rare wood; as well it usually has many knots and other “flaws”. Such characteristic ensured that even in the olden days, it wasn’t used as extensively as other woods.
Given that the goal was to use even scrap pieces of GLUMC, NUGWA used jewelry techniques and carved this traditional USS
KA-JA-NAUCH with a GIZUA (sun) and its rays. The GIZUA is one of the crests of the the GEE-GA-JOAUCH (Beaver Clan).For a USS KA-JA-NAUCH, this particular scrap-wood was long enough, barely wide enough, but it also had a crooked twist to where a straight handle was usually called for. A rope with a knot was the inspiration for this USS KA-JA-NAUCH — a very decorative handle with the “knot” in the middle served as a visual device to “account” for the handle’s slight twist.
It was a very satisfying solution to a “knotty problem”.
Lyle Wilson 2024
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Hay-Lee-Cla (Shaman) Soul Catcher
Lyle Wilson
SOLDBoxwood
2.5 x 8.75 x 2″ (soul catcher only)
7.5 x 8.75 x 2.75″ (including stand)In the olden days the practice of the shamanism was widespread amongst the Pacific Northwest native peoples — including the HAISLA. The HAY-LEE-CLA (shaman) was considered to be a powerful individual capable of doing both AIX (good) and YAX (bad). Their regalia and accompanying “tools of their trade” were some of the most unique and mysterious artifacts produced. Since they believed that their power would either be lost or weakened when their secrets were known, all HAY-LEE-CLA closely guarded the knowledge of their profession. So the only person who could really tell what was depicted on their tools and regalia was the HAY-LEE-CLA who owned the items.
So very little is known and recorded about shamanism — except that there was an extremely strong belief that their powers were real and not to be trifled with.
Asking HAISLA elders about soul-catchers, all they could only come up with HAISLAKALA words like HAY-LEE-CLA, HILIGA (soul), and DUDXSIWIHC PIPU (shaman’s tools). The specific word for “soul-catcher” has now been forgotten, because such an item has not been used — or seen — in the HAISLA community for generations. Some HAISLA elders believe that any carving featuring a O-shaped mouth is a sign of magic and such items were generally avoided by ordinary HAISLA people.
The majority of old soul-catchers are made of a femur bone — it was believed the SAX (grizzly bear) femur was best because it was a powerful, fearsome animal and even after it was killed, it’s bones retained residual power. Many of these mysterious old soul-catchers are some of the finest, elaborate and jewel-like carvings from the Pacific Northwest Coast.
Soul-catchers were hung around the neck so they were both highly visible and easily reachable. The bone itself was hollow, once the HILIGA was captured and put inside, both ends would be plugged with red-cedar bark until the HILIGA could be ritually dealt with.
My three soul-catchers [in this exhibition] are carved from boxwood. The fact that very little is known about what exactly shamanic images mean gave NUGWA great artistic and creative leeway — NUGWA took full advantage of this leeway. So although there is no specific “story” behind these three soul-catchers, they all attempt to follow the fantastic imagery portrayed on historical soul-catchers: mysterious, wild and free from an anthropological/historical explanations; inspired by an artistic and sculptural point-of-view.
Lyle Wilson 2024
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Salmon Pendant
Lyle Wilson
CA$2,200.00Yew wood, Sterling silver
As part of this exhibit NUGWA (I/me) decided to carve small, off-cut pieces of wood into a series of jewelry, because the medium of wood, itself, has an inherent beauty!
The HAISLA word for a pendant is NEE-CHA-WA — and the series of NEE-CHA-WA are carved at a fine jewelry-scale because NUGWA love wood and don’t want to throw away even small pieces of them. NUGWA first started in the jewelry field so when NUGWA got into carving wood, applying jewelry skills to such small pieces of wood was a “natural” progression.
This NEE-CHA-WA is a MIYA (general word for fish; in this case a salmon).
Lyle Wilson 2024
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Orca Pendant
Lyle Wilson
CA$2,200.00Yew wood, Sterling silver
As part of this exhibit NUGWA (I/me) decided to carve small, off-cut pieces of wood into a series of jewelry, because the medium of wood, itself, has an inherent beauty!
The HAISLA word for a pendant is NEE-CHA-WA — and the series of NEE-CHA-WA are carved at a fine jewelry-scale because NUGWA love wood and don’t want to throw away even small pieces of them. NUGWA first started in the jewelry field so when NUGWA got into carving wood, applying jewelry skills to such small pieces of wood was a “natural” progression.
This NEE-CHA-WA is a HULL-CHEY-NAUCH (orca).
Lyle Wilson 2024
Past Works
The artist’s Past Works at our Gallery have now sold; however, a custom order may be possible if the artist is available and accepting commissions.