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Red Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
|Dimensions||35.5 x 35.5 x 1"|
Born in the Comox Valley in 1961, Doug has carved in the Haida style since he was 16 years of age. He has gained valuable experience by working with such artists as Bill Reid, Don Yeomans, and Glen Rabena. While Doug works in a variety of mediums, his incredibly well-crafted totem poles have garnered him international acclamation.
In 1989 Doug left the Comox Valley to hone his craft with Haida artist Don Yeomans. Together, among other works of art, they created two eight-foot totems, which are now on display in private collections in the United States. While working in Vancouver, British Columbia, Doug began a successful working relationship with Bill Reid, helping him create the “Spirit of Haida Gwaii.” This iconic sculpture, cast in bronze, is located in the International wing of the Vancouver Airport and its image graces the back of the Canadian $20 bill. In 1991 Doug Zilkie was highlighted in the feature book title, ”The Black Canoe” which chronicles the development of this monumental project.
Doug has gained an international reputation as a respected artist, with several notable commissions by the Canadian government. Doug was commissioned in 1991 by the Canadian government to carve and paint two red cedar front doors for the embassy in Tanzania, Africa. And in 1993, his mask titled “Haida Sea Ghost” was acquired for the art collection of the Canadian Embassy in Berlin.
Doug continues to prove a multifaceted and distinctive artist, creating works in a variety of media including wood, bronze, silver, stone and graphics. He is also a highly respected screen printer and has cut the stencils for many prints used in Northwest Coast Native art. As he continues to develop and excel at his craft, his artwork is increasingly sought after by collectors worldwide.
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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
Bronze Cast, Marble base
Edition of 12
9.5 x 8 x 5″
Volcano Woman is perhaps one of the oldest and most revered legends which tells of a mortal”s fate if he/she does not treat sacred objects or creatures with respect. In defense of her beloved wild creatures, she controls the powerful volcanoes. Stories tell of how the killing of a frog leads the Volcano woman to destroy an entire village.
Volcano Woman is a supernatural, powerful person in First Nations mythology. She had a son who, like his mother, had supernatural abilities. He often liked to change from his Human form to that of a Frog (Wukus).
Years ago, a Prince and his two friends went fishing. Hungry, they lay their food on leaves. The Wukus (Frog), being mischievous, jumped on their food. Twice the young Prince threw the Frog into the shrubs but on the third time they threw the frog into the fire and killed the innocent creature.
A few nights later, a woman could be heard crying and wailing. “Who has done this, come forward and I will spare your village.” This warning went unheeded for some time until finally a Woman of the Elders went to the village outskirts to see her. Volcano Woman instructed the Woman of the Elders to send forth the three young men and she would spare the village from volcanic destruction. The Woman of the Elders begging for the sake of the Village told of Volcano Woman”s ultimatum – but this warning went unheeded.
On the final night of the village's existence, Volcano Woman was heard saying, “I asked for those responsible to take heed and now you will know my vengeance.” The Village shook, a Volcano erupted, destroying the village and all who lived there.