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Red Cedar wood, Yellow Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Yellow Cedar wood, Acrylic paint
|Dimensions||9.25 x 7 x 7"|
|Nation||Coast Salish (Musqueam) Nation|
Born in 1948, Joseph was raised on Musqueam land in Vancouver, BC and over the years has raised his own family in Vancouver. His ancestral name is Katxalacha and it was handed down to him from the Paul family of the Squamish Nation situated in North Vancouver.
Joseph took an early interest in carving and had the opportunity to observe his late father, Sylvester, who carved culturally significant ceremonial masks and house posts, using the traditional Coast Salish form line. Joseph’s late brother Danny Campbell gave him his first carving knife and also demonstrated numerous carving techniques and styles, including the structured and complex northern form line, a style which Joseph continues to use in most of his work.
Joseph began carving small scale works, swiftly progressing to larger scale, with objects such as talking sticks, masks and panels. Consequently, Joseph commenced designing and building bentwood boxes under the guidance of his good friend and mentor, master bentwood box carver, Larry Rosso. Since that apprenticeship, Joseph has progressed steadily with his range of expertise and precision in perfecting his design and carving techniques. He continues to create more finely crafted and complex pieces with each completed work. Campbell not only furthers his carving techniques through his practical skills, but also drives himself to improve his knowledge of design, working in contemporary media to advance and broaden his artwork.
Campbell studied Advanced Design with Master Haida artist Robert Davidson, and has worked with instructor George Rammel at Capilano College on the art of bronze casting. As Campbell’s artwork continues to thrive, many collectors has developed a strong affinity for his work; his bentwood boxes can be found in collections across Europe, United States, Canada, Asia, and the South Pacific.
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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
Argillite, Abalone shell, Mother of Pearl, Catlanite
This ornately detailed panel pipe inlayed with catlanite, abalone shell and mother of pearl tells the ancient story of Nanasimgit.
The man or Nanasimgit is depicted at the bottom of the pipe holding skils to represent his stature. It shows the numerous potlatches he has held. The following story is a shortened version as told by the artist, Christian White:
One day, the man’s wife was washing sea otter skins near the ocean, when a Killerwhale arose from the surface. It coaxed her into the water and carried her seaward while her husband watched in disbelief. Without hesitation, he quickly decided to follow them until the Killerwhale dove near a two-headed kelp, which prevented him from going any further. He was feeling quite distraught as he returned back to the village but by then he had decided to seek the help of his uncle, the Frog.
The Frog offered him advice on how he could get his wife back and suggested that he take specific objects with him for his journey. He brought spruce root twine, a gimlet and medicine, placing them in his canoe. But, before he embarked on his journey, he was urged to undergo a fast in order to cleanse his body, which involved various rituals.
Once the fast was completed, the man embarked on his quest until he came across the kelp he had encountered before. He tied his canoe to the kelp along with his possessions and climbed down beneath the surface to find himself in another world. He followed a path where he encountered three blind women that resembled Geese. He used his medicine to cure two of the women while the third one chose not to accept the medicine. The cured women vowed to repay him for his deed. As he proceeded onward, the man came across two slaves, from the Killerwhale clan, chopping wood. As they proceeded to chop the wood, the head of their axe fell off and they began to cry knowing the consequences they would face from the Chief. The man stopped to assist them and in return they directed him to his wife’s dwelling. The slaves warned the man of the watchmen pole that stood in front of the longhouse protecting the inhabitants. The watchmen had the ability to scent out and watch out for intruders.
While he proceeded further on his path and thought about how to divert the watchmen, the man encountered a Heron repairing a canoe without success. The man stopped to offer him his gimlet to successfully repair the canoe. In return for his generosity, the Heron helped conceal the man under his wing blanket from the Black Whale guards and the watchmen. He successfully entered the longhouse to happily find his wife. At this point, the watchmen discovered the man taking his wife back with him, but were unable to stop him.
When the man arrived back with his wife to his village he felt a different connection with her, as though she was not herself. At night, he would keep her in a bentwood box, but one morning when he awoke, to his surprise she escaped. She left to be with her Killerwhale family and fully transformed into a Killerwhale. This was the last he saw of her.