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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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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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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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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
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Killerwhale Panel
Philip Gray
SOLDRed Cedar wood
SOLD – For artist commission inquiries, please contact us.
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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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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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ABC’s Reconstituted Panel
Lyle Wilson
CA$40,000.00Red Cedar wood, Acrylic paint
Early in my career there were just a few experienced Pacific Northwest Coast (PNC) artists and they often used the metaphor of the western alphabet — advising young PNC artists to learn the ABC’s of PNC two-dimensional art: the Ovoid, U-shape and connective Formline.
NUGWA (I/me) decided to make that advice into a “visual reality” by using classic Ovoids, U-shapes and Formlines, to make strange animals that contort themselves into the shapes of the western alphabet and numbers.
So in 1984 NUGWA “made” an early version — a limited-edition of 50 serigraphs of the PNC alphabet and numbers. However during the printing process the entire edition was damaged. Although NUGWA managed to salvage one print, the rest were cut up to make a few small gift and business cards.
Many years later, in 2011, NUGWA decided to paint a version of the my PNC ABC’s and that how “ABC’s RECONSTITUTED” came about — it’s a blend of tradition and modern “advice”.
Lyle Wilson, 2024
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Killerwhale Triptych Panels
Don Yeomans
CA$36,000.00Red Cedar wood, Acrylic paint
36 x 24.75 x 2″ (each panel)
36 x 74.25 x 2″ (entire triptych)
“I have always loved patterns in design. The goal in this series was to represent a pod of whales in a very traditional colour & design. The biggest challenge for me in this was the absolute [tedium] I experienced having to carve the same design three times.” – Don Yeomans
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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
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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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Tsonokwa (Wild Woman) Mask
Raymond Shaw
CA$28,500.00Red Cedar wood, Horse hair, Acrylic paint
37 x 25.5 x 11″ (mask only)
50 x 30 x 11″ (including hair) -
Killerwhale & Eagle Panel
Don Yeomans
CA$26,500.00Red Cedar wood, Acrylic paint
Don Yeomans’ Killerwhale & Eagle Panel is a beautiful and dynamic depiction of two significant and powerful figures in Pacific Northwest Coast Indigenous culture. Carved from rich red cedar wood, the panel features a classic red and black color-scheme that is commonly seen in historic northern artworks. The vibrant red, combined with the dynamic expressiveness of the carving, easily captures the attention of all those in its vicinity. With such impeccable detail and fluidity, this artwork serves as a true testament to Don Yeomans’ skill as a master artist.
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Everything Connected Bentwood Box
Steve Smith
CA$25,200.00Red Cedar wood, Acrylic Paint
Currently on display at the Fairmont Waterfront Hotel
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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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
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“Huupulth – Portal to the Spirit Realm” Sun Mask
Moy Sutherland
CA$24,000.00Red Cedar wood, Abalone shell, Horse Hair, Acrylic paint
45 x 41 x 9 (including hair)
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Crooked Beak Mask
Raymond Shaw
CA$20,500.00Red Cedar wood, Cedar bark, Acrylic paint
23 x 11 x 39″ (mask only)
53 x 12 x 42″ (including bark & stand)
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Shaman Sculpture
Lyle Wilson
RESERVEDYellow Cedar wood
13.75 x 4 x 4
18.25 x 6.5 x 6.5″ (including plexi-glass case)
For generations no HAY-LEE-CLA (shaman) has practiced in the HAISLA community, but in the olden days there were some who did. A HAY-LEE-CLA was considered to be capable of doing both AIX (good) and YAX (bad) deeds using their magic. Since they believed that their power would be lost if their secrets were revealed, a HAY-LEE-CLA never shared such secrets. So very little known about their ceremonies, songs, tools and regalia. In those olden days, however, ordinary people strongly believed their magic powers were real, and that the HAY-LEE-CLA, and his items, were not to be trifled with.
Even today some HAISLA elders think an O-shaped mouth on any carving was a sure sign of magic and such things were generally avoided by ordinary HAISLA members.
HAY-LEE-CLA regalia and the other “tools of the trade” are some of the most mysterious, beautiful and elaborate artifacts ever collected from the Pacific Northwest Coast.
In this sculpture NUGWA (I/me) carved a HAY-LEE-CLA with sleepy eyes, as if he was just starting a shamanic trance; he’s chanting a song while shaking 2 YADEN (rattles). A crown of SAAX (grizzly bear) claws are worn — the claws are also decorated with carvings. In addition he wears a ceremonial apron adorned with the image of a KWEE-KWA-NAUCH (frog) and climbing up his back is a GWULS-GEAUCH-GAW (land otter).
To the practicing HAY-LEE-CLA both animals were considered to be spirit-helpers because — unlike most living creatures — they seemed to be equally comfortable on both land and in water. Because the SAAX was such a fearsome animal, a crown of its claws was also considered to be a powerful magical item and was much coveted by a HAY-LEE-CLA.
Lyle Wilson 2024
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Eagle Bentwood Box
David A. Boxley
CA$17,800.00Red Cedar wood, Acrylic paint
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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The Chase Bentwood Box
Philip Gray
SOLDRed Cedar wood, Operculum shell, Acrylic paint
SOLD – For artist commission inquiries, please contact us.
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“Through the Smoke Hole” Panel
Robert Mills
CA$17,000.00Red Cedar wood, Horse hair, Acrylic Paint
The Raven-child begged to hold the light for just a few moments. His grandfather had only a glimpse of the child he had come to love, for even as the light was given to him, the child transformed into a giant White Raven. He then snapped up the light and, as he escaped through the smoke hole of the house, his feathers became covered with black soot as he flew into the darkness…
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Unity Bentwood Box
Steve Smith
CA$16,800.00Red Cedar wood, Yellow Cedar wood, Acrylic Paint
Specific and unique to the Northwest Coast People is the bentwood or bent-corner box or container. A most outstanding item of the First Nations people, it is a made from one single plank of wood through a lengthy steaming process – a method strictly adapted by the coastal peoples.
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Shamanic Transfer Sculpture
Lyle Wilson
SOLDYellow Cedar wood
24 x 7 x 7″
33 x 10.5 x 9.25″ (including plexi-glass case)
This carving also artistically explores the shamanic “world”. Shamanism was once widespread amongst the HAISLA, and all Pacific Northwest native peoples. The HAY-LEE-CLA (shaman) was considered to be able to do both AIX (good) and YAX (bad) deeds by using magic.
Very little is known about the actual practices of shamanism, but in those early years people believed in their powers — one of which was to ‘EM-YAUCH-ELA (talk to spirits).
This sculpture has a HAY-LEE-CLA wearing a crown of SAAX (grizzly bear) claws with faces carved on them — indicating the spirit-helpers of the HAY-LEE-CLA. Such a crown was a coveted item because a SAAX was such a fearsome and powerful animal that certain parts of them were used to harness the power they had.
One of the frequently portrayed animals that related to shamanism was the KWEE-KWA-NAUCH (frog) — it was able to live in the two worlds of land and water. To the people of that time, such a dual ability was thought of as magical.
In old carvings the ability to EM-YAUCH-ELA and transfer magic power, was displayed via connecting tongues. This HAY-LEE-CLA has his tongue connected to an upside down, KWEE-KWA-NAUCH that has a humanoid face. In the middle of the sculpture, the long tongue rests on the top of a double-headed KWEE-KWA-NAUCH — which adds its power to the exchange.
In the eyes of the top and bottom faces are even more faces, alluding to various spirit-helpers. On the sides of the sculpture are two ropes that visually “tie” all parties together — a metaphor of a HAY-LEE-CLA and his spirit-helpers in the “olden days” of shamanism.
Lyle Wilson 2024
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Flicker Mask
Lyle Wilson
SOLDNorway Maple wood, Cedar bark rope, Abalone shell, Acrylic paint
NUGWA (I/me) believe the HAISLA word for this bird is JUH-JUS-PEE-CA (woodpecker/flicker).
The JUH-JUS-PEE-CA’s tail JILL-JILLCH (feather) is very distinctive in both color and shape; orange with a pointed end. Some believe — plausibly — its distinctive profile is the inspiration for the Pacific Northwest Coast U-Shape and Split U-Shape.
The JUH-JUS-PEE-CA’s JILL-JILLCH were often added as part of the assemblage of a traditional GEE-GEE-WA (frontlet) — a very prestigious carved item, usually worn by a HEY-MAS (chief) or other important individual during a potlatch, feast or other public occasions.
A special framework allowed the GEE-GEE-WA to be fastened in place. The JUH-JUS-PEE-CA’s JILL-JILLCH were then arranged on both sides of the GEE-GEE-WA, where their colour and distinctive shape complimented the GEE-GEE-WA.
Knowing the historical use of the JUH-JUS-PEE-CA’s JILL-JILLCH, NUGWA got very excited to see a couple of them on the large JAWEE-CA-LAS (maple) tree in our Vancouver backyard. It was absolutely fascinating to watch these beautiful birds and every time they came around NUGWA stopped whatever NUGWA was doing just to watch them.
Sadly the JAWEE-CA-LAS tree was diseased and had to be cut down and replaced. NUGWA saved some of its wood and carved this GEE-GA-MEE (mask) in memory of the two
JUH-JUS-PEE-CA that visited once in awhile — NUGWA believe it kind of captures the spirit of both the JAWEE-CA-LAS tree and the JUH-JUS-PEE-CA.
Lyle Wilson 2024
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Raven Mask
Douglas David
CA$15,800.00Red Cedar wood, Cedar bark, Acrylic paint
35 x 29.5 x 12 (including stand)
17.5 x 24.5 x 10 (mask only)
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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
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Tsiiqwatin (Eagle) Panel
Moy Sutherland
CA$15,000.00Yellow Cedar wood, Abalone shell, Acrylic paint
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“Sunrise” Cast Mask
Kyran Yeomans
CA$15,000.00Bronze Cast
Edition of 12
24 x 24 x 10″ (mask only)
28.5 x 26 x 15.5″ (including base)
“It seems, at times, the material will give direction to what will come. This was the case for this piece. As it became clearer that it was to become a sun figure, the idea of it being a companion for a moon piece I had done many years previously excited me. The timing possesses a feeling of cosmic intention to it, a cyclical weight.
Arriving after ten years of darkness, the sun appears, bringing with it a new season. Life awakening after hibernation, new green finding its way into being, spring. Illumination. Newness. Difference. Balance. Growth, in all its awkwardness and vulnerability. Foreshadowing.
I [wrote] these words in the summer of 2021, after welcoming my son into this world a few weeks ago. I look back and see this piece giving me a big empyrean wink. May it warm and light your space and voyage through these three dimensions (…and beyond).” – Kyran Yeomans
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“Sunrise” Cast Mask
Kyran Yeomans
CA$15,000.00Bronze Cast
Edition of 12
“It seems, at times, the material will give direction to what will come. This was the case for this piece. As it became clearer that it was to become a sun figure, the idea of it being a companion for a moon piece I had done many years previously excited me. The timing possesses a feeling of cosmic intention to it, a cyclical weight.
Arriving after ten years of darkness, the sun appears, bringing with it a new season. Life awakening after hibernation, new green finding its way into being, spring. Illumination. Newness. Difference. Balance. Growth, in all its awkwardness and vulnerability. Foreshadowing.
I [wrote] these words in the summer of 2021, after welcoming my son into this world a few weeks ago. I look back and see this piece giving me a big empyrean wink. May it warm and light your space and voyage through these three dimensions (…and beyond).” – Kyran Yeomans
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Haida Eagle, Raven & Bear Pole
Geoff Greene
CA$14,500.00Glass, etched and sandblasted
Exclusive to Coastal Peoples Fine Arts Gallery
The interplay between tradition and innovation is the premise for this contemporary totem pole. While cedar wood predominates, noted Haida artist Geoff Greene has applied his foresight in designing traditional Haida motifs in the contemporary glass medium. It makes a strong visual statement with its structured Haida form line, yet the translucent nature of the glass softens the composition, clearly defining the progression of Haida art. The Eagle is portrayed perched from the top, with the Raven and Moon following. The Eagle signifies peace and friendship, while the Raven is the folk hero who created the Moon, stars and the universe. At the base of the totem, the Bear is a close relative to mankind known to share both human and animal traits.
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Gagiid Mask
Reg Davidson
CA$14,500.00Red Cedar wood, Yellow Cedar wood, Acrylic paint, Horse hair
Gagiid is a wild, otherworldly creature who has been transformed through a traumatic maritime experience. Some believe that he can be found lurking on the forest edge and near streams, collecting the souls of the drowned and trying to persuade unwitting humans to eat his ghostly food, causing them to become otherworldly like him. However, it is not all doom and gloom – as with any transformation, it is possible for Gagiid to be tamed and re-enter the human world again.
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Raven, Sun, Moon & Star Panel
Lyle Wilson
CA$13,500.00Yellow Cedar wood
This is the story of WEE-GIT, the Trickster GAX (raven) stealing the “Ball of Light” — this carving includes the GIZUA (sun), NA-GWA-JEE (moon),and the XEE-XEE-GIZUA (stars) being released into the sky at the same time.
In the olden days, the world was originally in darkness so it was very hard for WEE-GIT to hunt for food in order to try 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 such 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, he threw the “Ball of Light” into the sky; when he did that smaller pieces broke off.
That is why there are now are the GIZAU, NA-GWA-JEE and XEE-XEE-GIZUA casting their light from the sky; WEE-GIT’s unintentional gift 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
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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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82. Frog Basket
Isabel Rorick RCA
CA$12,800.00Spruce root, Acrylic paint
Hand-painted by Alfred Adams (Isabel’s brother)
3.25 x 4.5 x 4.5″
Isabel Rorick comes from a long line of weavers, including her great-grandmother Isabella Edenshaw; her grandmother, Selina Peratrovich; her mother, Primrose Adams, and her Aunt, Delores Churchill. Using the Haida language of form, Isabel incorporates many traditional designs into her baskets and hats, like that of the dragonfly, raven’s tail, and spider web or slug trail.
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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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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
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Raven Cod Lure
Luke Marston
CA$12,500.00Red Cedar wood, Yellow Cedar wood, Cedar bark, Copper, Stone, Acrylic paint
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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
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Eagle, Bear & Halibut with Chief & Raven Talking Stick
Calvin Hunt RCA
CA$12,000.00Red Cedar wood, Acrylic paint
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“Raven Transforming” Triptych [Framed]
Trace Yeomans
CA$12,000.00Left Panel: Ultrasuede appliqué on board
Centre Panel: Red Cedar wood, Acrylic paint, Carved
Right Panel: Acrylic paint on board
2021
Framed
25.75 x 21.5 x 2.25″ (each panel)
25.75 x 64.5 x 2.25″ (entire triptych)
“I called this triptych ‘Raven Transforming’ because the design continuously transforms from one medium to another to form a complete Raven design.
This was a fun set to work on – each panel being a completely different medium created a bit of a challenge to keep all of the pieces aligning where they meet. This meant checking several times throughout the process of each panel. I was pleased with the way these came together in the end.” – Trace Yeomans -
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