Various Sculpture
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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
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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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Shaman Sculpture
Lyle Wilson
SOLDYellow 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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Raven & Light Sculpture
Lyle Wilson
SOLDWild Crabapple wood, Yew wood, Abalone shell
Black Walnut BaseThis is the story of WEE-GIT, the Trickster GAX (raven) stealing the”Ball of Light” — this carving shows WEE-GIT, perched on a traditional GUH-YO-JEELTH (bentwood box). The NA-GWA-JEE (moon) is above him.
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. 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 NA-GWA-JEE 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 NA-GWA-JEE 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 NA-GWA-JEE into the sky.
That is why there now is a NA-GWA-JEE casting its soft light from the nighttime 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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Grandpa George, Numas
Corrine Hunt
CA$2,400.00Reclaimed Yellow Cedar wood, Acrylic paint, Copper [Engraved]
“Ethnology of the Kwakiutl, Based on Data Collected by George Hunt -Part I.” by Franz Boas
Grandpa George, Numas is a fascinating portrait piece that Corrine Hunt created in honour of her great-grandfather, George Hunt. Many of George Hunt’s most distinctive features are depicted on the piece – including, most notably, his full-bodied mustache and big blue eyes. Numas is Kwak’wala for “Old Man,” which is how the Hunt family affectionately refers to their former patriarch. He lived to be 79 years old, which was quite impressive for his time.
Corrine Hunt’s sculpture is carved from a half-round of reclaimed yellow cedar wood, which the artist has left partially untouched so as to retain the organic shape and look of the wood. The eye of the sculpture features a miniature copper shield with several Kwak’wala words engraved on the surface. These words are excerpts from Ethnology of the Kwakiutl, Based on Data Collected by George Hunt – Part I, which was edited by Franz Boas and contains extensive information regarding the lifestyle, culture, and customs of the Kwakwaka’wakw peoples and their communities. While the book that accompanies this piece was published in 2011, the original ethnological text was first featured in the Thirty-fifth Annual Report of the Bureau of American Ethnology in 1914.
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Lazy Son-in-Law Box
Gryn White
CA$11,500.00Argillite, Mastodon Ivory, 14K Yellow Gold, Abalone shellFor more details on shipping Ivory outside of Canada, please click here and then click open the Shipping section and scroll down to read more on Shipping Restrictions.
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Dogfish Mask (AP)
Ben Davidson
Price upon requestBronze Cast, Granite Base
Artist Proof, Limited Edition I of I -
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Eagle’s Play Glass Rattle
Susan Point RCA
Price upon requestHand blown glass, Red Cedar wood base
This beautiful contemporary rattle is made with hand-blown glass, an example of Susan Point’s balance between traditional and contemporary styles. It demonstrates her ability to diversify, yet reveals her respect for tradition and ancient mythology. Based on an ancient implement, a spindle whorl was used for spinning wool into yarn for the process of creating fine woolen blankets.
Currently on display at the Westin Bayshore Hotel
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Raven Cod Lure
Luke Marston
CA$12,500.00Red Cedar wood, Yellow Cedar wood, Cedar bark, Copper, Stone, Acrylic paint