You may choose to reserve an item in consideration of purchase by clicking the "Reserve for Purchase" button (instead of Add to Shopping Cart). This allows you the opportunity to contact our gallery with any inquiries prior to purchase and it will ensure the item continues to be on hold while you are communicating with us.
If you should find an item already on "Reserve" that is of interest to you, please contact us directly at 604.684.9222 or firstname.lastname@example.org and we can provide you with the status of the piece and whether it will become available for purchase again, or if the sale is in progress with a buyer.
One of life’s most rewarding experiences is collecting fine art, and sometimes it’s best to take a little more time to make these acquisitions with ease. We understand and want to do everything possible to make collecting your next artwork more comfortable. At Coastal Peoples Gallery, we offer an interest-free layaway program and offer flexible terms which can be customized to your individual needs.
Corey Bulpitt was born in 1978 in Prince Rupert B.C. Raised in Langley B.C. he graduated from the Langley Fine Arts School in 1996. Upon graduation, Corey moved to his traditional homeland of the Haida Gwaii [Queen Charlotte Islands] where he apprenticed for 3 years under his uncle renowned Haida artist Christian White. After his apprenticeship, he moved back to Vancouver and has since been working with his other uncle and master carver Jim Hart at the Museum of Anthropology.
Corey has been specializing in masks, argillite sculptures, printmaking, jewelry, painting and various other mediums. He has studied many older pieces by great Haida and other west coast artists. Corey looks into the past for his inspiration but he also experiments with contemporary mediums and design elements.
Corey is currently working on some projects with some of his up and coming peers including Kwaguilth artist Ryan Cranmer and his Haida cousin Vernon White.
Red Cedar wood, Yellow Cedar wood, Abalone shell, Acrylic paint, Leather
The carving of flutes of the Northwest Coast extends back historically through time. The dramatic importance of the flute was indicated by the variety of specialized whistles, each of which was produced to make specific tones. Songs and dances were part fo all ceremony and ritual, a fundamental element of the inherited privilege. Equally important were the many whistles and other musical instruments that were specifically designated for most dances. Wooden whistles of one, two or three shafts, each with several holes and reeds produced a strong and clear note. Flutes and whistles were traditionally blown in the woods to introduce the cermonial season. Every instrument was the object of time, skill and concern and was considered by those who owned it as a necessary part of the family’s collection