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
-
Light Panel
Lyle Wilson
CA$33,000.00Red Cedar wood, Acrylic paint
This is the story of WEE-GIT, the Trickster GAX (raven) stealing the “Ball of Light” — in this carving WEE-GIT is painted in the corona, the GIZUA (sun) is peeking from behind his beak, and the NA-GWA-JEE (moon) is the carved, central face.
In the olden days, the world was originally in darkness so it was very hard for WEE-GIT to hunt for food with which to satisfy his never-ending hunger. WEE-GIT knew that an old HEY-MAS (chief) owned, and kept, a “Ball of Light” in a GUH-YO-JEELTH (bentwood box). WEE-GIT decided it would be easier to get food if he could see, so he decided to trick the old HEY-MAS. He did that by using his magical powers to change himself into a pine needle; then floated into the chief’s daughter’s cup of water. She drank both the water and pine needle and became pregnant.
Thus WEE-GIT was reborn as a young boy, and became the treasured grandchild of the old HEY-MAS.
At first the HEY-MAS kept a close watch on WEE-GIT but eventually the HEY-MAS let his “grandson” play with the “Ball of Light”; relatively unsupervised. Taking advantage of the loose supervision WEE-GIT quickly changed back into his true form and grabbed the “Ball of Light” in his beak. He flew up and squeezed through the big-house’s smokehole; the smokehole’s soot turned his white feathers to black when he squeezed out — that’s why all GAX have black feathers today.
The “Ball of Light” was very heavy and WEE-GIT soon became too tired to fly, so rather than let the pursuing HEY-MAS regain it, WEE-GIT threw the “Ball of Light” into the sky and as he did so, pieces broke off.
That is why the NA-GWA-JEE and GIZUA are in the sky; WEE-GIT’s unintentional gifts to mankind. The “Ball of Light” has also served as a metaphor for the beginning of human consciousness on the Pacific Northwest Coast.
Lyle Wilson 2024
-
Eagle Chief’s Staff
Lyle Wilson
CA$8,800.00Yellow Cedar wood, Acrylic paint
63.5 x 2.25 x 2.75″
64.75 x 9.75 x 9.75″ (including wood base)This is what the HAISLA call a SEE-GA-GUM (chief’s staff/cane) — sometimes referred to as a “Talking Stick”. In the olden days the
HEY-MAS (chief) had a carved SEE-GA-GUM — sometimes carved with just a single figure and sometimes with multiple figures. NUGWA (I/me) have carved a few SEE-GA-GUM and two of them are still in the HAISLA community at C’IMOTSA (KITAMAAT).In a potlatch, feast or any public event, a HEY-MAS would have a SEE-GA-GUM to display his clan crests to the attending people. As well, the SEE-GA-GUM was generally acknowledged to carry the authority of the clan and HEY-MAS. Thats’ why when it was passed to anyone else, they had the right to speak on behalf of the HEY-MAS and clan. That’s also why it became known as a “Talking Stick”.
NUGWA was born into the GEE-GA-JOAUCH (Beaver Clan) but was formally adapted into the IKSDUQ’IYA (Eagle Clan) at a very young age.
NUGWA thought it appropriate to have a SEE-GA-GUM visually “representing” the IKSDUQ’IYA in this exhibit.
NUGWA liked the “simplicity” of a single figure because it has an uncluttered look that exudes confidence — yet NUGWA also likes the act of carving so instead of leaving the shaft plain, NUGWA carved decorative spirals that give it more visual interest without compromising that “simplicity”.
Lyle Wilson 2024
-
Haisla Houseposts Transformed Totem Pole
Lyle Wilson
CA$45,500.00Yellow Cedar wood, Acrylic paint
This GLA-GLA-QWIL-SALA (totem pole) is an “artistic amalgamation” based on the 4 large, traditional HAISLA ZUX˚UM (house-posts) in the collection of the UBC Museum of Anthropology (MOA).
The ZUX˚UM were collected by the Methodist missionary, Dr. G. H. Raley (stationed at KITAMAAT from 1893-1906). He collected them from an old HAISLA village site called WAYIGIWA.MIA’S — used seasonally as a fishing site on GICH-LAA-LEES-LA (Kitimat River). The attributed creation date of the ZUX˚UM is circa 1850.
Unfortunately Raley didn’t collect any information regarding the history of these four ZUX˚UM — other than identifying one as being a SAX (grizzly bear). NUGWA (I/me) also couldn’t collect any additional information since today’s HAISLA elders were far too young to remember anything specific; other than hearing Raley had a collection of “HAISLA stuff “, while others heard older HAISLA people sometimes mention the old village site.
All the ZUX˚UM are covered with a dark-brown substance that was probably once a clear, protective coating. It took ten days to examine — inch-by-inch — and draw, accurate renderings of what three of the ZUX˚UM originally looked like. The carvers’ original intentions are hidden beneath dark coatings, which emphasizes their sculptural appearance, but hides the painted details that initially gave the ZUX˚UM a much more lively and colourful appearance.
NUGWA did carve six-foot high DINYAS (red cedar) versions of 2 of these traditional ZUX˚UM — which NUGWA called: “QOLUUN (Beaver)” and “THUNDERBIRD”.
As a personal “repatriation” initiative NUGWA donated the newly carved QOLUUN ZUX˚UM to the local Haisla Community School — where it’s displayed today, presumably helping HAISLA students learn a bit more of their history.
NUGWA never did get around to carving new, full-size versions of the last two ZUX˚UM: “SWIMMING QOLUUN” and “SAX”. NUGWA decided it was time for another HAISLA carver to tackle those initiatives. Of course part of NUGWA still wanted to carve larger versions of both ZUX˚UM, but decided to include small versions of them in a “special manner”.
NUGWA decided to take advantage of modern artistic license and amalgamate all 4 of HAISLA ZUX˚UM — transforming the separate house-posts into a single, model GLA-GLA-GLA-QWIL-SALA carved from KWANALAS (yellow cedar).
Although some may disagree with this modern approach, NUGWA look at it as an artistic decision that departs from, but still respects tradition.
Lyle Wilson 2024
-
Raven Ladle
Lyle Wilson
SOLDYew wood
4.25 x 18 x 2.75″ (ladle only)
13.75 x 14.25 x 3.75″ (including base)At a formal potlatch or feast, the GEE-GA-GEE-NAUCH (Raven Clan) would use a decoratively carved SOO-AUCH-DLA (chief’s ladle) to serve food to another high ranking person: HEY-MAS (chief), MOO-JEELTH (chieftainess), or UN-GWA (family of a ranking chief).
This SOO-AUCH-DLA is made from GLUMC (yew wood); a relatively rare wood that also was also used as a traditional medicine — it’s wood, bark and needles were boiled in hot water to make a “tea” to cure various sicknesses.
Also included on this SOO-AUCH-DLA are K’IB’UM (inserts shaped like a “butterfly”); a traditional repair technique now seldom seen or used. The HAISLA originally used K’IB’UM in the olden days, and it is now something NUGWA (I/me) am using more often because of it’s visual effect, my desire to preserve it’s usage, and have found it’s an effective way to preserve much of the bulk of a GLUMC piece because NUGWA am not cutting away much GLUMC to try and get a “perfect piece of wood”.
Special SOO-AUCH-DLA were brought out at formal potlatches, feast or public events to display the GEE-GA-GEE-NAUCH’s clan crest, history and privileges to the attendees.
Lyle Wilson 2024
-
Sawgum (Seal) Bowl
Lyle Wilson
CA$25,000.00Yew wood
This SAWGUM (seal) bowl is carved from a section from a large GLUMC (yew wood) log, and its growth rings indicated the original tree would have been approximately 350 yrs old.
Pacific Northwest Coast (PNC) carvers generally don’t carve GLUMC because it’s a very tough, wild-grained, and relatively rare wood. It also usually has many knots and other “flaws” — characteristics that ensured that even in the olden days, it wasn’t used very extensively. Whenever GLUMC was actually carved, the items were generally simple, small and utilitarian: spoons, clubs, paddles, bowls, etc..
The large size of the original tree was something that NUGWA (I/me) wanted to highlight, as its life started off approximately in the mid-1600’s. To get a perfect piece of GLUMC, its numerous flaws would need to be cut away, resulting in a significantly smaller piece of wood. So included in this SAWGUM bowl are K’IB’UM (inserts shaped like a “butterfly”) — a traditional repair technique now seldom seen or used. NUGWA am using K’IB’UM more often because of it’s visual decorative effect and my desire to preserve it’s usage. Using K’IB’UM is also a practical way to keep the dimensions of the original piece of GLUMC because the cutting-away process is kept to a minimum — a “perfect piece of wood” is not the goal, but preserving the large dimension is.
Many fine, old SAWGUM bowls exist in various collections and are usually carved out of other wood species: GLA-GLA-DA-LAS (alder), JAWEE-CLA-LAS (maple), HUU-AMA-LAS (birch), etc.. These bowls were traditionally used at a HEY-MAS’s (chief) potlatch, or feast, to serve important guests their food. The real SAWGUM was a coveted, rich food and it’s fat was often rendered down into a condiment oil to accompany dried foods. So a SAWGUM bowl became a symbol of chiefly wealth.
GLUMC was also used as a traditional medicine — it’s wood, bark and needles were boiled in hot water to make a “tea” to cure various sicknesses.
So this large SAWGUM bowl gives the salvaged, original piece of GLUMC a second “life”, rather than being left to eventually rot away, and forgotten, in an abandoned logging clearcut.
Lyle Wilson 2024
-
Ge’lwa (Canoe) Bowl
Lyle Wilson
RESERVEDYew wood
Not many people had the knowledge and skills to make a AIX (good) GELWA (canoe) and in the olden days the GELWA was basically the sole means for transportation, hunting and food-gathering. So a CHEH-SEE-LA-NEEUCH (canoe builder) was an extremely important because of his knowledge in cutting down a large tree, carving and hollowing it into its semi-final shape, and finally steaming the GELWA wider into its finished shape.
A AIX GELWA has compound flares, concavities, and convexities — inside and out. The sides flare up, ending in a smaller flare at the gunnels. The outside of the hull is a convex shape that transforms into a series of concavities to form the stern and bow — in addition the bow has a cut-water flange. All these forms are seamlessly, and aesthetically, integrated in a manner subtle enough not to undermine a GELWA’s ultimate function of cutting through, controlling and deflecting the element of water.
The GELWA ranged in size from small to large. The smaller sizes were used for 1 or 2 people travelling in local waters, while the larger ones were used for longer trips — such as visiting neighbouring villages or on the open ocean.
There were different types of GELWA: ‘LEE-WA-JEE (hunting canoe), WA-WA-‘SEELA-JEE (river canoe), DAH-GWAN (very large canoe used for the open ocean), THLA-LA-KA-PA-JEE (racing canoe), KEE-KA-JA-NAUCH (spoon canoe), and CHAH-JEE (model canoe).
Although there are no full-size examples remaining (only old models), apparently in pre-contact times the GELWA was originally made with its ends shaped differently: longer stern and the bow was basically a large, thin, vertical and flat area — some call this type of early GELWA a “Head canoe” or “Long-Tail” canoe. It is thought that this large, flat, bow-area made this type of GELWA difficult to control in strong winds and tidal currents. So, over time, the GELWA’s shape was refined by cutting away some of the bow and stern to form the classic Pacific Northwest Coast northern-style GELWA that we are familiar with today.
NUGWA (I/me) was always fascinated with the GELWA and this GLUMC (yew wood) bowl is basically a CHAH-JEE of a pre-contact GELWA. The shape lends itself to a PNC formline image — in this case a marine creature. In addition NUGWA carved water being parted to form the GELWA’s wake; implying the CHAH-JEE is moving forward, cutting through the water. This detail comes from my reminiscing of earlier times at C’IMOTSA (KITAMAAT) where NUGWA had the privilege of paddling some GELWA (also used an outboard motor on the “modern” GELWA while fishing and hunting), as well as during my later years when NUGWA was invited to paddle around Vancouver’s False Creek in a newly-made HAIDA GELWA.
Lyle Wilson 2024
-
Ancestor Mask
Lyle Wilson
CA$6,500.00Red Cedar wood, Human hair, Acrylic paint
9 x 7.5 x 5.25″ (mask only)
14 x 10.5 x 5.25″ (including hair)The UBC’s Museum of Anthropology (MOA) has 4 HAISLA ZUX˚UM (housepost) collected by the Methodist missionary, Dr. G. H. Raley; stationed at KITAMAAT fr. 1893-1906. He collected them from an old HAISLA village site called, WAYIGIWA.MIA’S — used seasonally as a fishing site on GICH-LAA-LEES-LA (Kitimat River). The attributed creation date of all the ZUX˚UM is circa 1850.
All the ZUX˚UM are covered with a dark-brown substance that was probably once a clear, protective coating. It took ten days to examine — inch-by-inch — and draw accurate renderings of what three of the ZUX˚UM originally looked like. The carver’s original intention is hidden beneath dark coatings; which emphasizes their sculptural appearance, but hides the painted details that originally gave the ZUX˚UM a much more lively and colourful appearance.
Earlier NUGWA (I/me) carved a new, larger ZUX˚UM based on the original A17797 (MOA’s Coll. Number for it)). NUGWA called this new ZUX˚UM “Thunderbird” because the painted images on its cheeks are reminiscent of a thunderbird’s re-curved beak (although the image can be interpreted in other ways).
This GEE-GA-MEE (mask) is painted similarly to the old HAISLA ZUX˚UM. NUGWA learned from those old ZUX˚UM — so “ANCESTOR” seemed appropriate as its title.
Lyle Wilson 2024
-
Nawakala (Old Man) Mask
Lyle Wilson
CA$6,500.00Red Cedar wood, Acrylic paint
This NAWAKALA (old man) GEE-GA-MEE (mask) is carved from a piece of DIN-YAS (red cedar) that was brought down all the way from C’IMOTSA (KITAMAAT) to Vancouver.
NUGWA (I/me) knew it was destined to be a GEE-GA-MEE but it was awhile before finally getting around to carving it.
NUGWA didn’t know exactly what to carve so NUGWA took the piece of wood and thought about C’IMOTSA and some of the GUKALUT (fellow HAISLA people) that NUGWA knew while growing up there.
Some of the most memorable — and true — advice given to NUGWA was from some of the older folks. Their advice wasn’t always taken, but reflecting on it, later, the advice given was generally AIX (good).
Perhaps if their advice was taken more seriously, a great deal of my mistakes wouldn’t have happened.
When this GEE-GA-MEE was 85 percent finished, NUGWA wanted to add a few other things to it — it’s hard to explain but it somehow felt “incomplete”. So NUGWA put it away and over a decade later, NUGWA took another look at it.
Such a long wait is not that unusual in my art practice; in this case it was entirely the right thing to do as sometimes “less is more”.
The added details that NUGWA envisioned earlier now seemed obviously unnecessary, and would’ve detracted from the feeling of the NAWAKALA GEE-GA-MEE.
This GEE-GA-MEE celebrates some of those elder GUKALUT and tries to portray their subtle serenity — some had this knowing, enigmatic smile and their wrinkles only added to their look of wisdom and long-life experience.
Lyle Wilson 2024
-
Weegit’s (Raven) Housefront Panel
Lyle Wilson
CA$9,000.00Red Cedar wood, Yellow Cedar wood, Abalone
This is the aftermath of one “famous adventure” of WEE-GIT, the TRICKSTER GAX (Raven):
“In the olden days, the world was originally in darkness so it was very hard for WEE-GIT to hunt for food with which to satisfy his never-ending hunger. WEE-GIT knew that an old HEY-MAS (chief) owned, and kept, a ‘Ball of Light’ in a traditional GUH-YO-JEELTH (bentwood box). WEE-GIT decided it would be easier to get food if he could see, so he decided to trick the old HEY-MAS. He did that by using his magical powers to change himself into a pine needle; then floated into the chief’s daughter’s cup of water. She drank both the water and pine needle and became pregnant.
Thus WEE-GIT was reborn as a young boy and became the treasured grandchild of the old HEY-MAS.
At first the HEY-MAS kept a close watch on WEE-GIT but eventually the HEY-MAS let his ‘grandson’ play with the ‘Ball of Light’; relatively unsupervised. Taking advantage of the loose supervision WEE-GIT quickly changed back into his true form and grabbed the ‘Ball of Light’ in his beak. He flew up and squeezed through the bighouse’s smokehole; the smokehole’s soot turned his white feathers to black when he squeezed out— that’s why all GAX have black feathers today.”
The ‘Ball of Light’ was very heavy and WEE-GIT soon became too tired to fly, so rather than let the pursuing HEY-MAS regain it, WEE-GIT threw the ‘Ball of Light’ into the sky and as he did so, pieces broke off.
That is why the GIZUA (sun), XEE-XEE-GIZUA (stars) and NA-GWA-JEE (moon) are in the sky; they are WEE-GIT’s unintentional gifts to mankind. The ‘Ball of Light’ has also served as a metaphor for the beginning of human consciousness on the Pacific Northwest Coast.”
Although entirely of my imagination NUGWA decided to continue the story a bit further. Afterwards, WEE-GIT decided to build himself a traditional HAISLA bighouse and have the housefront and front gables decorated with various images of himself — the GIZUA occupies the apex of the bighouse, the XEE-XEE-GIZUA just below, and peeking out the round entrance is a NA-GWA-JEE face.
Lyle Wilson 2024
-
Ancestor Frontlet
Lyle Wilson
CA$5,800.00Yew Wood, 22 Abalone shell inlays, Acrylic paint
Stone Base4.75 x 4 x 2.75″ (frontlet only)
6.75 x 4 x 2.75″ (including base)NUGWA (I/me) have always admired the older GEE-GEE-WA (frontlet) because they were usually simple, yet very strongly conceived and well-carved.
The GEE-GEE-WA is an important and highly prized ceremonial item — it’s attached to a head-piece that allows it to be seen on the forehead and has valuable additions that surround it: GILL-UM (ermine pelt), JUH-JES-PEE-CA (flicker) JILL-JILLCH (feather), and GLEE-CHAN (sea lion) whiskers.
The GEE-GEE-WA was used in a dance where the dancer shook his head at certain times during the dance; loosely contained within the ring of whiskers was the WACH-A-LA (down feather). The dancer’s head-shaking allowed the WACH-A-LA to float out into the air — this dance was often used to open a potlatch and by greeting guests in this manner, the hosting clan was signaling their peaceful intentions.
Often this dance is referred to as either a “HEY-MAS (chief) dance” or the “Peace Dance”.
So the carving portrays — appropriately — an stylized ancestor from the olden days.
Lyle Wilson 2024
-
Tagwah (Octopus) Soul Catcher
Lyle Wilson
CA$15,000.00Boxwood
2 x 8.25 x 1.75″ (soul catcher only)
10.75 x 4.25 x 4.25″ (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
-
Heymas (Chief) Frontlet
Lyle Wilson
CA$9,100.00Yew Wood, 22 Abalone shell inlays, Acrylic paint
5 x 3.5 x 2.25″ (frontlet only)
8.25 x 3.5 x 2.75″ (including stand)NUGWA (I/me) have always admired the GEE-GEE-WA (frontlet) because they were usually strongly conceived, well-carved and usually featured a clan crest; or characters relating to clan history.
The GEE-GEE-WA is an important and highly prized ceremonial item — it’s attached to a head-piece that allows it to be seen on the forehead and has valuable additions that surround it: GILL-UM (ermine pelt), JUH-JES-PEE-CA (flicker) JILL-JILLCH (feather), and GLEE-CHAN (sea lion) whiskers.
The GEE-GEE-WA was used in a dance where the dancer shook his head at certain times during the dance; loosely contained within the ring of whiskers was the WACH-A-LA (down feather). The dancer’s head-shaking allowed the WACH-A-LA to float out into the air — this dance was often used to open a potlatch and by greeting guests in this manner, the hosting clan was signaling their peaceful intentions.
Often this dance is referred to as either a “HEY-MAS (chief) dance” or the “Peace Dance”.
After NUGWA (I/me) carved the older style “ANCESTOR” GEE-GEE-WA, NUGWA decided to carve a GLUMC (yew wood) version in a more modern style; featuring a HEY-MAS wearing his woven DIN-YAS (red cedar) headband with GIZUA (sun) GEE-GEE-WA attached.
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.
