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Sawgum (Seal) Soapberry Spoon
Lyle Wilson
CA$1,200.00Yew 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.
However, given that the goal was to use even scrap pieces of GLUMC, and both SAWGUM and USS being special foods, NUGWA combined these factors with jewelry techniques and carved this traditional USS KA-JA-NAUCH.
The real SAWGUM was also considered a coveted, rich food and it’s fat was often rendered down into a condiment oil to accompany dried foods. The SAWGUM’s meat, fat and oil would be served at a potlatch to demonstrate a clan’s wealth and generosity.
Lyle Wilson 2024
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Orca & Prey Panel
Lyle Wilson
CA$7,000.00Red Cedar wood plank, Acrylic paint
This painting is a small scale version for which NUGWA (I/me) used as a reference to make a large 14 by 15 foot interior house-screen.
The painting is based on the format of a traditional GA-GA-BA-MOLTH (button blanket) in which a single, large image occupies the central field — in this case a HULL-CHEY-NAUCH (orca). An ochre-colour border contains multiple creatures: GLEE-CHAN (sea lion), SAWGUM (seal), and MIYA (salmon). Reversing the normal painting practice, it’s the background that’s painted; turning the images into “negative, woodgrain formline” creatures.
NUGWA don’t know if it was common knowledge in the olden days but NUGWANIS (we) now know that there are 2 types of HULL-CHEY-NAUCH: one type eats MIYA, and the other type hunts GLEE-CHAN and SAWGUM.
Lyle Wilson 2024
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Chillakoons Model Pole
Lyle Wilson
RESERVEDYellow Cedar wood, Abalone shell
49.75 x 6 x 4.5″
51 x 8.25 x 7.5″ (with base)
This story belongs to the HAISLA IKSDUQ’IYA (Eagle Clan) and was a peace offering from the Haida Eagle chief, GITWUN. This gift signaled the end of the early Haida raids, and retaliations by the HAISLA. The HAISLA IKSDUQ’IYA (Eagle) HEY-MAS (chief) was given all the rights associated with the CHILLAKOONS story, in which 3 young men mistreated a supernatural KWEE-KWEE-NAUCH (frog) while they fished for GO-LEES-TEE (trout) in a stream. They threw a KWEE-KWEE-NAUCH into a fire and its supernatural mother — Volcano Woman — put a curse on them causing them to die, one by one, as they paddled back to their home. Soon afterwards the entire village was destroyed by fire. Only a young girl survived and, via inter-marriage and gift-giving, her story (and its rights) were passed down through the ages. The full story is longer and the Haida apparently also refer to the story as “The Volcano Woman” because she caused the volcano’s eruption.
The first CHILLAKOONS GLA-GLA-QWIL-SALA (totem pole) was actually carved by GITWUN’s Haida, and towed to C’IMOTSA (KITAMAAT); it rotted away long ago. It was replaced by a HAISLA copy that stood at KITAMAAT until, it became too damaged by a house fire and had to be taken down in the 1900’s. During my high school years another “copy” was made by Bobby Stewart — all three totem poles were stylistically-simple, On top was a supernatural figure (wearing a segmented a hat); below was a MOO-MOO-GA-JOO (halibut) and on the bottom was a KWEE-KWEE-NAUCH.
My version is inclusive of the original story, but also expands it. On top, the volcano woman is holding a talking stick carved with the original, simple version of the CHILAKOONS totem-pole, but also she is standing in front of an erupting volcano.
Below her, a Haida HEY-MAS mourns the loss of his son and the destruction caused by that great fire — he’s wearing a MOO-MOO-GA-JOO frontlet on a cedar-bark headband with ermine pelts on the side; his tears run down his cheeks. The three young men who were fatally cursed by the Volcano Woman are shown in the old-style GELWA (canoe), just below the chief’s hands.
Below the GELWA is a GO-LEES-TEE swimming in a stylized stream emptying into an equally stylized, horizontal, wavy AH-AH-WAUCH (ocean). At the bottom is a KWEE-KWA-NAUCH with it’s tongue stretched out and it’s being consumed by fire.
In those olden days, the Haida people often ambushed the HAISLA — all raids took place when the HAISLA lived up the GICH-LAA-LEES-LA (Kitimat River). So NUGWA decided to expand the CHILLAKOONS saga. The Haida attempted a series of raids; one where the HAISLA defeated the Haida raiders and the survivors were made to run a gauntlet, shoot all their arrows at a rock bluff situated near the head of the KITAMAAT salt-water channel. Their arrows shattered against the rock bluff and that event is symbolized by a broken arrow the mourning Haida HEY-MAS holds in his hands.
Another raid took place at SUMGAS creek, a tributary approximately a mile up the GICH-LAA-LEES-LA. Further upriver, the HAISLA posted a watchman on a high bluff called NANAKILA. In those early times there were no giant evergreen trees as there were in later; only small brush so a lookout could see down to the mouth of GICH-LAA-LEES-LA. A path allowed the lookout to run down to the HAISLA GYUU-AUCH (bighouses) — situated just inside the junction of the river and tributary — to give ample warning of danger. An additional tactic was a strong, rock-weighted rope that was sunk across the SUMGAS tributary. Because SUMGAS creek was close enough to the AH-AH-WAUCH (ocean), its high tide affected SUMGAS creek by making it deeper; this too was part of the HAISLA defense tactic because the large Haida GELWA could only access SUMGAS creek during a high tide.
So, as expected, the Haida GELWA came up the GICH-LAA-LEES-LA at high tide and paddled into the SUMGAS tributary, trying for a surprise attack on the HAISLA GYUU-AUCH. Unbeknownst to them, was that the forewarned HAISLA had already posted teams on both sides of SUMGAS — awaiting a signal to pull the rope up. When the raider’s GELWA was over the rope the signal was given, the rope pulled forcefully up, which then tipped over the Haida GELWA. The raiders were dumped into the water where they were helpless. The HAISLA killed all but one; he was let go, given an old, small GELWA and allowed to make his own way back to his people, along with a warning to not come back.
That incident is symbolized with an upside down GELWA along with two hands holding a rope, on one side of the GLA-GLA-QWIL-SALA. Still another raid is shown on its opposite side.
The Haida again, used a large, ocean-going GELWA that was difficult to manage in the fast-flowing currents of the GICH-LAA-LEES-LA, The HAISLA GELWA were smaller, speedier and much more maneuverable; designed to deal with the river’s strong currents. As the Haida raiders tried to sneak up the GICH-LAA-LEES-LA they were met with a small GELWA flotilla of HAISLA — outnumbered the Haida managed to turn their GELWA around and were chased down the swift-flowing GICH-LAA-LEES-LA. Unknown to the raiders, the HAISLA had planned to herd them towards one of the logjams on the GICH-LAA-LEES-LA — even to the HAISLA these logjams were deadly, but the HAISLA advantage lay in the fact they knew the locations of the logjams.
Combined with the swift current and awkward handling of their large ocean-going GELWA, the Haida raiders didn’t see the log-jam trap until it was too late — their GELWA was irreversibly caught in the current. Their GELWA smashed into the logjam where it broke apart, the current then sucked everything and everyone under the logjam where everything simply vanished.
That incident is portrayed with a symbolic log and capsized GELWA with two raiders clinging to it.
So it was after all this happened that the Haida and HAISLA made peace and the CHILAKOONS story and rights became the property of the HAISLA IKSDUQ’IYA. The Haida names of GITWUN and CHILLAKOONS are still in use amongst today’s HAISLA!
Lyle Wilson 2024
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Qoluun (Beaver) Totem Pole
Lyle Wilson
RESERVEDYellow Cedar wood, Abalone Shell
Stone Base
57 x 6 x 4.5″
58.25 x 8.5 x 6.5 (including base)This GLA-GLA-QWIL-SALA (totem pole) is a story of the GEE-GA-JOAUCH (Beaver Clan) coming to the HAISLA. The journey began in a Tlingit village called CLOONTHK — in the state now known as Alaska in the U.S.A. JUH-JEE-NEE was the HEY-MAS (chief) of his Tlingit Beaver Clan and his linage went back for generations. The name JUH-JEE-NEE means ‘Eagle”s Claws’ in the Tlingit language and the name was given to him by his father’s Tlingit Eagle Clan. JUH-JEE-NEE ’s family consisted of 10 brothers and sisters and when their WEE-WAY-ALTHLA (parents) died, the whole family was so consumed with grief they decided to leave their ancestral village.
Shortly after their WEE-WAY-ALTHLA’s funerals, the family paddled their GELWA (canoes) southwards seeking a new land and life. They were in no hurry — camping in bays and exploring different places. They lived off the land, often digging for JEE-QWA (clams) and JA-WA-LEE (cockles). When the tide was out, JUH-JEE-NEE’s MA-NES-OOT (brother), STA-OWSK was wading in the shallow water of a bay and saw a TAGWAH (octopus) swim into a hole beneath a large boulder. He reached into the hole to try and grab the TAGWAH and his hand was trapped by a giant scallop — a large clam-like creature. STA-OWSK’s hand was trapped so securely that neither he, nor his family, could free it.
When the tide came up poor STA-OWSK drowned — adding more grief to the band of Tlingit wanderers. After the tide went down, JUH-JEE-NEE cut off STA-OWSK’s arm and cremated his body. STA-OWSK’s ashes were put into a small GUH-YO-JEELTH (bentwood box).
JUH-JEE-NEE and his family continued their journey southwards; eventually arriving at the entrance of the Nass River — where the village of Gingolx (formally, Kincolith) is now situated. Welcomed, they stayed for awhile, enjoying the hospitality of the Gingolx people. GUDHAYKS, another of JUH-JEE-NEE’’s MA-NES-OOT, married a woman there — the Stuart family of Gingolx are the descendants of GUDHAYKS.
JUH-JEE-NEE’s group then continued their journey and ended up at a site now known as the home of Ts’msyen band of Lax Kw’alaams — although their stay was relatively short, they were welcomed. INSIPDEEGS, JUH-JEE-NEE’’s WA-GWAH (sister), married a Lax Kw’alaams man — their descendants are the Dudoward family.
Continuing their journey, eventually they came to the mouth of the Skeena River. Paddling further up the Skeena they met the Kitselas people — or as they call themselves today: Gitselasu: People of the Canyon. Again welcomed, they stayed long enough for another of JUH-JEE-NEE’’s WA-GWAH — JINJANSH — to marry a Gitselasu man.
At Kitselas, JUH-JEE-NEE captured a little JUM-MEE-NAS (squirrel); which became his pet. JUH-JEE-NEE kept the JUM-MEE-NAS on a string and it preceded him while he walked around. The Gitselasu told him of a place where fresh-water GWAAS (mussels) could be found. JUH-JEE-NEE’s party decided to seek out this place and the JUM-MEE-NAS seemed to know the way, and led them to what is now called Lakelse Lake — where they camped on a beach there.
The GA-GAY-JWILS (day) was sunny and warm as they dug for GWAAS and JUH-JEE-NEE remembered the drowning of STA-OWSK. He took the GUH-YO-JEELTH, containing STA-OWSK’s ashes, and put it on a log. JUH-JEE-NEE and his family, then mourned for their MA-NES-OOT.
As they mourned, it seemed as if the world mourned with them: the GA-GAY-JWILS (day) became GA-NULTH (night) as the GIZUA (sun) went into an eclipse. As the eclipse ended and daylight gradually returned, for no reason the GUH-YO-JEELTH, containing STA-OWSK’s ashes fell off the log — scattering them on the beach.
As JUH-JEE-NEE’s family watched the eclipse end, more strange and supernatural events were witnessed: a giant QOLUUN (beaver) known as a KWUTH-HECK swam amidst a large patch of foam on the lake’s surface; a large MOO-MOO-GA-JOO (halibut) appeared (normally a saltwater fish) in the fresh-water lake; and a KWA-KWALK — a large man-like being holding a GWULS-GEAUCH-GAW (otter).
When everything finally disappeared, JUH-JEE-NEE’s party left the lake, and the JUM-MEE-NAS led them overland and southwards, until they got to the upper reaches of the GICH-LAA-LEES-LA (Kitimat River). They followed GICH-LAA-LEES-LA downstream until encountering a HAISLA at their village — located near the mouth of GICH-LAA-LEES-LA.
The HAISLA welcomed JUH-JEE-NEE’’s party. After telling the story of their adventures, JUH-JEE-NEE and his family were invited to join the HAISLA people. When JUH-JEE-NEE accepted the invitation, the HULL-CHEY-CHU-NOAUCH (Killer Whale Clan) gave JUH-JEE-NEE’s family a full-size GYUU-AUCH (bighouse) in order to make them feel truly welcome.
JUH-JEE-NEE’’s family settled into the HAISLA community — intermarrying with the HAISLA. JUH-JEE-NEE’’s leadership skills eventually led him to become the head HEY-MAS (chief) of the HAISLA. JUH-JEE-NEE kept his “original” Tlingit name and adopted the things they witnessed during their journey to use as family names and crests.
Down though the centuries the original Tlingit name of JUH-JEE-NEE has become JASEE in the language of the HAISLA. Undoubtedly the two vastly different languages of the Tlingit and HAISLA played a role in the changes — but it still means ‘Eagle’s Claws’.
When JASEE himself, commissioned a GLA-GLA-QWIL-SALA for the GEE-GA-JOAUCH, these crest-figures were carved on it: 2 QOLUUN at the bottom; KWA-KWALK holding a GWULS-GEAUCH-GAW; MOO-MOO-GA-JOO; GIZUA. The JUM-MEE-NAS was honoured by placing it on the very top, because it was the JUM-MEE-NAS that led JUH-JEE-NEE’’s family to their new home with the HAISLA.
In addition, for my contemporary version of the GEE-GA-JOAUCH GLA-GLA-QWIL-SALA, there is an old-style GELWA carved with symbols representing the people that welcomed them during the ancient, southward journey of JUH-JEE-NEE’’s family. The GELWA is placed between the KWA-KWALK and MOO-MOO-GA-JOO and carved with: a Skull and Scalp representing Gingolx; a Rose representing Lax Kw’alaams; and Grizzly Bear representing Kitselas.
This inclusion is meant to highlight the ancient family connections between the present-day HAISLA and our neighbours — something which is not often acknowledged — or indeed known — in today’s times but is part of the whole story of the HAISLA and the GEE-GA-JOAUCH.
Lyle Wilson 2024
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Woodworm Staff
Lyle Wilson
CA$4,900.00Yellow Cedar wood, Abalone Shell
with Granite Base47 x 1.75 x 1.75″
47 x 8 x 8″ (including base)From a previous job NUGWA (I/me) had two skinny, off-cuts of KWANALAS (yellow cedar) — one long and one short. Both pieces kind of straddled the border of “usable wood” and NUGWA vacillated on whether to keep, or throw them away. Unable to make my mind up right away, NUGWA put them aside.
NUGWA had no specific plans for them, but when NUGWA finally looked at them again, their dimensions were suggestive of a club and cane.
Both pieces also included some of the white-coloured sap-wood — that’s the part prone to rot and other damage, so most carvers don’t tend to use wood that includes sap-wood.
In carvings that are meant for outdoors the inclusion of sap-wood is a legitimate concern, but in today’s world, it’s not as big an issue because most contemporary carvings are destined for the indoors, or another protected environment.
With the longer piece, NUGWA decided to carve a more sculptural piece; starting with a smaller woodworm on top, adding a human CHAACH-JOO-WA-QIA (skull), and decorating the length of the staff with a rope motif.
NUGWA am pleased with how things came naturally together — in particular, the CHAACH-JOO-WA-QIA really adds a powerful presence and seemed appropriate to a shamanistic theme.
Lyle Wilson 2024
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Woodworm Club
Lyle Wilson
CA$2,500.00Yellow Cedar wood, Abalone shell
NUGWA vacillated on whether to keep, or throw them away. Unable to make my mind up right away, NUGWA put them aside.
NUGWA had no specific plans for them, but when NUGWA finally looked at them again, their dimensions were suggestive of a club and cane.
Both pieces also included some of the white-coloured sap-wood — that’s the part prone to rot and other damage, so most carvers don’t tend to use wood that includes sap-wood.
In carvings that are meant for outdoors the inclusion of sap-wood is a legitimate concern, but in today’s world, it’s not as big an issue because most contemporary carvings are destined for the indoors, or another protected environment.
So when NUGWA was looking at the off-cuts, there were some tiny holes visible, caused by insects tunnelling though the sap-wood — the tunnels formed a web of organic and artistic-looking patterns.
They added a sort of pleasing “patina” when incorporated as part of the overall aesthetic of a carving — implying “the passage-of-time slowly eating away at Man’s accomplishments”.
The worm-hole patterns became the inspiration for this “WOODWORM” club.
Lyle Wilson 2024
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Orca Soapberry Spoon
Lyle Wilson
CA$1,300.00Yew 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.). The long, skinny “scrap-wood” became a USS (soapberry) KA-JA-NAUCH (spoon).
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 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.
However, given that the goal was to use even scrap pieces of GLUMC, and USS being special foods, NUGWA combined these factors with jewelry techniques and carved this USS KA-JA-NAUCH.
This USS KA-JA-NAUCH is carved with the clan crest of the HULL-CHEY-NAUCH (orca) swimming in the AH-AH-WAUCH (sea/ocean).
Lyle Wilson 2024
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Hiliga Soul Catcher
Lyle Wilson
CA$12,500.00Yellow Cedar wood, Boxwood, Abalone shell
Stone and metal display stand
2 x 7.75 x 1.5″ (soul catcher only)
5.5 x 7.75 x 1.5 ” (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
