Availability: Only 1 available
Only 1 availableReserve this artwork
Reserve for Purchase
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.
- Additional Information
- Artist Bio
|Dimensions||1.75 x 5/8" (4.45 x 1.59cm)|
Gryn White’s aboriginal name Duugwi.is means “Strong Haida”, and he has descended from an impressive lineage of renowned artists. His great-great grandfather is Charles Edenshaw (1839-1920), a chief of thee StA’stas Eagle clan and who was considered the most influential Haida artist of his time. One of Charles’ granddaughters Lavine White, the daughter of Emily Edenshaw and Henry White had a son Greg Lightbown who is Gryn’s father.
Gryn is a part of the Raven clan and his crests include the Bear, Killerwhale and Shark (Dogfish).
His father was an argillite carver for over 40 years, but he credits his grandmother with the impetus to become an artist. At first, his parents tried to discourage him because the profession is unpredictable and it can be a struggle to follow in his elder’s footsteps.
Gryn pursued his passion and began to carve in his early teens by providing assistance to his father. When he completed school, he moved from Old Masset in Haida Gwaii to Vancouver to attend Langara Community College where he studied fine arts in design and art history.
Impressed with learning about contemporary art, he took this awareness of seeing and identifying negative space, balance, symmetry, shape, line and form back to the Haida design principles and applied it to the rules of formline design.
“I began to see the rules of Haida design as deeply rooted in our culture. It gave me the understanding of what Charles Edenshaw and Tom Price had achieved, and what Bill Reid has restored to Haida art. They became my teachers.”
“I want to create contemporary Haida art within these traditional boundaries. I’m not much interested in coming up with a new form of Haida art. I want to honour and feel continuity with the past.”
For now, Gryn is completely immersed in learning about the traditional formand exploring the tension between “old style” and original innovation with the intention of developing his own personal style. Still, he proudly acknowledges his strongest inspiration is his father and has always recognized that he wishes to be just like him.
Gryn continues to perfect his work and is continuously involved with ideas. He has filled many sketchbooks and credits the argillite stone with suggesting the form that it will take. As a perfectionist, he’s meticulous and precise, and he uses embellishments of prized Abalone shell, Catlanite and bone.
This is a meaningful art form for Gryn, one connects him to Haida Gwaii, his people and the land and animals of his island home.