Various Sculpture
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Wiigyet & Three Bears Sculpture
Charles Peter Heit
Price upon requestAfrican Wonder stonec. 2004
Chuck Heit’s “Wiigyet and the Three Bears” draws inspiration from a playful and poignant tale of the trickster Wiigyet and captures the story of his misadventure in pursuit of a perfect Black Bear blanket.
This remarkable sculpture, consisting of 27 individual components, brings to life the mischievous story of Wiigyet, whose longing for a new blanket leads him to three plump black bears lounging in a Cottonwood tree.
Mesmerized by the shiny, dark coats of the Bears, Wiigyet’s impromptu dance and song entice the creatures to descend. But despite the brief joy of their company, the Bears swiftly evade his grasp, leaving Wiigyet saddened and empty-handed once more.
Chuck Heit emphasizes the dynamic interaction between the physical and spiritual realms in this exceptionally executed piece. Skillfully, he depicts a Chief as the Shaman who maintains harmony between people and nature, navigates cosmic worlds, and reveals the deeply revered connection between humans, animals, and the natural world.
The carved figures on the lid reflect this spirit, with Wiigyet in a suspended pose, his feet never quite touching the ground, lifted by the playful Bears who embody the beauty of their fur as blankets adorned with tassels and designs. One of the Bears sniffs at Wiigyet’s old tattered blanket, symbolizing his failed pursuit and the lesson to respect nature’s spirits.
Crafted from “Black African Wonder Stone,” a substitute for Argillite, the piece illustrates Chuck Heit’s meticulous process and artistic prowess. Each aspect, from the fourteen silver dowels strengthening the joints to the carefully chosen designs, speaks to Heit’s dedication and mastery of carving. He shaped, reshaped, and refined the piece through numerous adjustments and trials to execute his vision to perfection.
The final work balances whimsical storytelling with traditional craftsmanship. Chuck Heit’s deep engagement with Northwest Coast culture is evident in both the narrative and the construction of Wiigyet and the Three Bears, presenting an artwork that is as meaningful as it is visually compelling. Heit’s adept blending of form and function, alongside his inventive approach, ensures the spirit of Wiigyet lives on, dancing with the Bears beneath the sheltering Cottonwood tree.
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Bird in the Air Sculpture
Robert Davidson RCA
Price upon requestEpoxy Powder-Coated Aluminum
Edition 8 of 12
2013
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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
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Swallow Sculpture
Robert Davidson RCA
Price upon requestPowder-Coated Polished Aluminum, Granite Base
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Supernatural Eye Sculpture
Robert Davidson RCA
Price upon requestEpoxy Powder-Coated Aluminum, Granite base
2007
Limited edition of 5
Davidson’s inspiration in creating this contemporary sculpture was the many supernatural beings that dwell on the Haida Gwaii Islands.
First, Davidson worked from drawings and then manipulated cut-out cards subtly before moving to prototyping the piece in different materials, sizes, and colours. Made from aluminum cut by a water-jet process, this sculpture’s thick curved planar form evokes the cut-outs used in making appliquéd blankets. Its sculptural design is innovative in its reliance on form and line and its use of negative space to create the image of the eye.
The second edition of Supernatural Eye is currently in the collection of the National Gallery in Ottawa.
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Sun Soapberry Spoon
Lyle Wilson
SOLDYew wood
NUGWA (I/me) consider GLUMC (Yew wood) a special, and relatively rare wood, NUGWA kept many off-cuts and other scrap pieces — it’s recognizing our overall need to conserve natural resources. So NUGWA resolved to use, as much as possible, even small pieces of GLUMC so the original tree wasn’t wasted. This piece was an off-cut from a larger GLUMC carving (the growth rings indicated the original tree was approximately 350 yrs old.).
USS is a traditional dessert made from a berry that is beaten into a pinkish, foamy (hence the translation to “soapberry”) dessert and a paddle-like KA-JA-NAUCH (spoon) was used to eat it. USS was considered a true delicacy in the olden days and served on special occasions like potlatches and feasts — it’s still traded and eaten today.
Normally most Pacific Northwest Coast carvers don’t use GLUMC because it’s a very tough, wild-grained, and relatively rare wood; as well it usually has many knots and other “flaws”. Such characteristic ensured that even in the olden days, it wasn’t used as extensively as other woods.
Given that the goal was to use even scrap pieces of GLUMC, NUGWA used jewelry techniques and carved this traditional USS
KA-JA-NAUCH with a GIZUA (sun) and its rays. The GIZUA is one of the crests of the the GEE-GA-JOAUCH (Beaver Clan).For a USS KA-JA-NAUCH, this particular scrap-wood was long enough, barely wide enough, but it also had a crooked twist to where a straight handle was usually called for. A rope with a knot was the inspiration for this USS KA-JA-NAUCH — a very decorative handle with the “knot” in the middle served as a visual device to “account” for the handle’s slight twist.
It was a very satisfying solution to a “knotty problem”.
Lyle Wilson 2024
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Raven Helmet
Don Yeomans
Price upon requestRed Cedar wood, Acrylic paint, HideCirca 1997
Previously owned by Robert Davidson
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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