Various Sculpture
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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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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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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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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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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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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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Raven Helmet
Don Yeomans
Price upon requestRed Cedar wood, Acrylic paint, HideCirca 1997
Previously owned by Robert Davidson
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Dogfish Mask (AP)
Ben Davidson
Price upon requestBronze Cast, Granite Base
Artist Proof, Limited Edition I of I -
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