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Porcelain, Engraved with Interior Glaze
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- Additional Information
- Artist Bio
Porcelain, Engraved with Interior Glaze
|Dimensions||3.25 x 4.5 x 4.5" (8.26 x 11.43 x 11.43cm)|
|Nation||Interior Salish Nation|
Interior Salish Nation
Patrick Leach is from the St’át’imc First Nation Territory. Raised in T’ít’q’et community near Lillooet B.C. he is of the P’egpig’7lha (Frog) clan.
Patrick’s began with photography as his first induction in the art world. Having left his home and family, Patrick moved to Courtney BC where he received his photography certificate from North Island College. While there, Patrick learned the theory and practice in capturing critical elements of light, timing, weather, emotion and people. Combining this with pure heart and soul he is able to capture the full life and spirit of the moment on camera. His pictures tell a story that draws a viewer in as though they themselves had been in the moment when the photo was taken.
His art has caught the attention of magazines such as Red Skin and Say where some of his photos were later debuted. He has also had the honour of photographing local artist and brother, George Leach, leading to the timeless shot that now graces the back of George’s first CD.
Once college was completed, Patrick was not yet ready to go out on his own and still felt something was missing. For the next 9 years Patrick returned to his career with BC Forests working with the Seton Lake Unit Crew. During that time, he focused on nature photography from the perspective and eyes of an on-scene fire fighter.
His introduction to pottery happened in 2008 when he took one of the biggest leaps of faith in his life. Patrick began to work under the mentorship of Matthew Jacob, a well known BC based aboriginal photographer. During this time of dramatic change and transition, he began working on his second artistic love: pottery – a medium not found in Northwest Coast art.
Under the close eye of Erdman Tuemp, a local pottery master, Patrick has learned how to combine the processes and styles of both Erdman and renowned Kwakwaka’wakw artist Steve Smith. Drawing from his creative mind and steady hand Patrick places the final touches by carefully carving landscapes, geometrical designs and scenes from ancient traditional rock paintings and basket weaving. Each piece is a one of a kind creation.
All of Patrick Leach’s pottery is handmade (porcelain) then hand-carved. Some of the pottery is carved on the inside and several have glazes (two firing for the glaze on the inside) and all pots have a clear glaze on the outside.
As an emerging artist, Patrick Leach’s new earthly style is quickly becoming recognized for its beauty, fine finishing, and intricate designs. These individualistic creations will easily become much sought-after as his career continues to progress.
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Price upon request
Norman Tait with Lucinda Turner
Alder wood, Copper, Cedar rope, Horse hair, Operculum shells, Acrylic paint, Leather
Norman Tait’s exceptional Sun Hawk Mask stems from his father’s clan, the Tlingit Nation ancestry, and primarily represents one of his father’s family crest figures. While this exquisite mask depicts elements of a human face, the additional features, such as the beak, allude to its supernatural connection. Constructed from Alder wood, the wood’s unique grain is a strong element within the design and is used to exemplify the mask’s delicate human-like structure. Furthermore, the addition of acrylic paint and the stark horsehair locks add life to this Humanized Supernatural-being.
Featured in Finding A Voice: The Art of Norman Tait
10.5 x 9 x 7″ (excluding hair)
Serigraph, Edition of 100
(For inquiries on custom framing, please contact the gallery)
“This contemporary Coast Salish design, titled “Pro Creation”, through the act of creativity,is a celebration of the act of procreation. In the design, two salmon heads are depicted, the negative crescentric space simultaneously defining their mouths, as well as defining each other’s lower jaw. This simple visual punning represents interconnectedness through procreation. This simple visual punning also represents the beginnings of the offspring of the two salmon. In some of philosophical musings, I have often wondered which act is great, creation or procreation? I came to the conclusion that procreation is great than creation, since creation, as a human culture, woudl not exist without procreation. I also felt that the lIFe of one human being is much greater than the body of work of any artist. Recently though, I have felt that creatively creates culture, and makes the procreation of many generations possible. So I now see both creation and procreation as both being great acts of humankind.
On a personal leve, althought I am not really “pro-choice” or “pro-life”, my myOTHER , when she was a sixteen year old girl with me, was considering abortion. With love for her, I am thankful that she gave birth to me. If she never procreated me, the creativity of my lIFe would not exisit.”
Birch wood, Abalone, Ivory
For 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.
A frontlet is a forehead mask attached to a woven headpiece. It is worn by chiefs and high-ranking individuals as a display of crests and status. Frontlets are often decorated with materials that are symbols of wealth and power: abalone shell, operculum shell, sea lion whiskers, feathers and/or ermine pelts.
The intelligent Eagle symbolizes status, power, peace and friendship.
Exclusive to Coastal Peoples Fine Arts Gallery
Glass; Etched and sandblasted (Glass thickness 12mm)
Maple wood base
Every Household and every clan possessed its own history and traditions in the form of myths and legends. Often describing how an individual had met a supernatural being, in animal form, who had given ownership of certain privileges. These privileges are a highly important part of First Nations life and are retained by particular family groups through their laws of inheritance. Privileges gave an individual status in the community and were more highly valued than any material possession.
In reality there were rights, such as the right to use a figure on a house post, wear a mask or to perform a dance at a ceremony. Very typical of these legends was the tale of Natcitlaneh, who was abandoned on an island by his brothers-in-law, who were jealous of his prowess as a hunter. He was rescued by the sea lions and taken to their village in a cave, where in gratitude for his healing their Chief, gave him supernatural powers which enabled him to carve eight wooden Killerwhales. These came to life when they were placed in the sea and avenged him by killing his brothers-in-law. As a mark of respect, Natcitlaneh built a house and named it Killerwhale House. According to legend the ancestors visited the house, located at the bottom of the ocean and obtained the right to use the Killerwhale as a crest. The Killerwhale was said to have originated from a single great white wolf that leaped into the sea and transformed itself into a Killerwhale, or Orca. That is why they have the white markings on their sides, travel in packs and are such skilled hunters. The Orca is considered to be the ocean manifestation of the wolf and the two animals are considered to be directly related.
Another beautiful legend tells that long ago Orca was one color, black and she lived in the water like all fish. Then she fell in love with Osprey and he with her. The Orca wanted to know so badly what it felt like to fly so she leapt farther and farther out of the water to be close to her love and Osprey spent more and more time close to the water to be near his love. Love has a way of making itself shown and expressed, and when their child was born, she was black like Orca, but with a white belly and head like the Osprey. The Orca has a song so beautiful that all creation is said to stop and listen to the Orca and that to be splashed by the Orca is to ensure great luck and happiness.
Chaz’s beautifully sculptured glass Killerwhales pay tribute to First Nation culture, oral history and traditions. These are testament to an ideology in which we are all interconnected and part of the greater whole- each related and affecting the other.