Ancestor Frontlet
Availability: Only 1 available
by Lyle Wilson
Yew Wood, 22 Abalone shell inlays, Acrylic paint
Stone Base
4.75 x 4 x 2.75″ (frontlet only)
6.75 x 4 x 2.75″ (including base)
NUGWA (I/me) have always admired the older GEE-GEE-WA (frontlet) because they were usually simple, yet very strongly conceived and well-carved.
The GEE-GEE-WA is an important and highly prized ceremonial item — it’s attached to a head-piece that allows it to be seen on the forehead and has valuable additions that surround it: GILL-UM (ermine pelt), JUH-JES-PEE-CA (flicker) JILL-JILLCH (feather), and GLEE-CHAN (sea lion) whiskers.
The GEE-GEE-WA was used in a dance where the dancer shook his head at certain times during the dance; loosely contained within the ring of whiskers was the WACH-A-LA (down feather). The dancer’s head-shaking allowed the WACH-A-LA to float out into the air — this dance was often used to open a potlatch and by greeting guests in this manner, the hosting clan was signaling their peaceful intentions.
Often this dance is referred to as either a “HEY-MAS (chief) dance” or the “Peace Dance”.
So the carving portrays — appropriately — an stylized ancestor from the olden days.
Lyle Wilson 2024
CA$5,800.00
Only 1 available
Reserve this artwork- Description
- Additional Information
- Artist Bio
Yew Wood, 22 Abalone shell inlays, Acrylic paint
Stone Base
4.75 x 4 x 2.75″ (frontlet only)
6.75 x 4 x 2.75″ (including base)
NUGWA (I/me) have always admired the older GEE-GEE-WA (frontlet) because they were usually simple, yet very strongly conceived and well-carved.
The GEE-GEE-WA is an important and highly prized ceremonial item — it’s attached to a head-piece that allows it to be seen on the forehead and has valuable additions that surround it: GILL-UM (ermine pelt), JUH-JES-PEE-CA (flicker) JILL-JILLCH (feather), and GLEE-CHAN (sea lion) whiskers.
The GEE-GEE-WA was used in a dance where the dancer shook his head at certain times during the dance; loosely contained within the ring of whiskers was the WACH-A-LA (down feather). The dancer’s head-shaking allowed the WACH-A-LA to float out into the air — this dance was often used to open a potlatch and by greeting guests in this manner, the hosting clan was signaling their peaceful intentions.
Often this dance is referred to as either a “HEY-MAS (chief) dance” or the “Peace Dance”.
So the carving portrays — appropriately — an stylized ancestor from the olden days.
Lyle Wilson 2024
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Cod Swallowing the Moon Panel
Joe David
Price upon requestRed Cedar wood, Bronze cast, Acrylic paint
This panel is created from one single piece of Cedar wood, which is a minimum of 500 years old.
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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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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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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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“After the Ancients” Bracelet
Lyle Wilson
Price upon requestSterling silver, Textured, Engraved, Repoussé, Chased
Hinged with Sterling silver Catch
2015“Exploring one’s roots brings a healthy appreciation of one’s place in the scheme of things. The Pacific Northwest Coast (PNC) formline has undergone changes over the passage of time. What I wanted to do was to pay homage to that earlier, cleaner, straightforward, massive look of PNC art because it captures the sense of that era’s time. I learned from what work they left behind and so it impacts the work I do today.
In this bracelet, a mixture of modern techniques – repoussé, chasing, engraving, texturing, fabrication – has been added to a deceptively simple facial image that’s present on early traditional bent-boxes; a face thought to represent a supernatural guardian of any treasures contained within the box.
For me, and for this exhibition, this style of PNC imagery depiction on a bracelet seemed to be something that had a sense of inevitability because I have such admiration and respect for ancient PNC artists”
-Lyle Wilson, 2016