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Birch wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Birch wood, Acrylic paint
|Dimensions||12 x 5 x 2.5"|
Born November 6, 1970, in Mayo, Yukon, Eugene Alfred is of Northern Tutchone and Tlingit ancestry, and belongs to the Crow Clan of Selkirk First Nation, located in Pelly Crossing, Yukon.
Studying under such renowned artists as Dempsey Bob (Tlingit/Tahltan) and Ken Mowatt (Gitksan), Eugene has established himself as a respected carver. His unique style and expertise has provided him with the opportunity to not only produce exquisite collectable artwork, but also to become an instructor and pass on his artistry to the younger generation. Currently, Eugene works and resides in Pelly Crossing, Yukon.
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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)
Other works by this artist
Yellow Cedar wood, Acrylic paint
Eugene Alfred’s stunning Shaman Panel is a masterfully carved and finely painted work of art, depicting a mysterious Shaman wrapped up in a bright cloak. The cloak is designed to look like a Raven, and is accompanied by a matching Raven frontlet.
Shamans were typically a chief of the village or a person of high-ranking stature who followed the directions given by their spirit helper. After a Shaman’s initial encounter with their helper, the spirit would turn into foam and disappear, uttering a word just before they left. This word would become the name the Shaman would use when asked to cure someone.
Prior to their disappearance, spirit helpers often left behind a physical object relating to their presence. These objects served as tokens of the encounters, and were considered to be great treasures. In addition to these treasures, Shamans would wear cedar bark ornamentation and face paint, and often utilized ceremonial objects such as rattles while performing their ritualistic songs and dances. These objects served as tokens of the encounters. This paraphernalia would enhance the spiritual presence in order to bring about supernatural powers of healing.