Availability: Only 2 available
Serigraph, Edition of 55
Only 2 available
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- Additional Information
- Artist Bio
Serigraph, Edition of 55
Red, Black, Blue, Green
|Dimensions||10 x 11 "|
|LOC||CP - - PD6 -|
April White was born on Haida Gwaii, of the Yahgu’jaanaas Raven Clan. Through her father, she is a direct descendant of the renowned Stastas Eagle Chief and Haida Artist, Charles Edenshaw. April has dozens of relatives living in these islands, all practicing indigenous art–painting, sculpting, totem poles, carving masks using cedar bark and spruce root in weaving, jewelry making, steaming bentwood boxes and creating art out of Argillite – these include her brother Darrel White, and her cousins Christian White, Derek White, Jim Hart and Gwaai Edenshaw. She is also a relative of the late Bill Reid.
April White received her Bachelor of Science degree in geology from the University of British Columbia. She has worked as a geologist in remote areas of the Canadian West, an experience which has been of assistance in developing the visual faculty essential to creating her works of art. It wasn’t until the mid-eighties that April decided to completely devote herself to her painting. Entirely self-taught, April’s natural inclination stems from her Haida heritage, where being an artist is an honoured profession.
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Serigraph, Edition of 100
“This contemporary Coast Salish sun design is an attempt to mediate between the Hul’qumi’num language (the language of the Cowichan Tribes) and English. There have been various anglecized spellings of this Hul’qumi’num toponym (place name), such as “Cowichan,” “Khowutzun,” and the currently accepted “Quwutsun.” This Hul’qumi’num term has been simplified and misinterpreted as meaning “The Warm Land,” when it should be more correctly interpreted as meaning “warmed by the sun,” or “basking in the sun with your back turned to the sun.”
The four eclipsed suns surrounding the central sun symbolize the darkness of ignorance blocking Daylight, a powerful source of truth.”
Other works by this artist
Serigraph, Edition of 55
“For my ancestors, the primary purpose of art is to unveil a parallel reality that is visible only in our minds—to share a glimpse of Supernatural Beings, with the world of Human Beings. Educated in science and with a spirit drawn to art, I see Earth as one great Being—with rock as a skeleton and running water as veins and arteries, great oceans as hearts—sustaining ecosystems. All as an interconnected biome—a web of life living, at least on the surface, symbiotically… as prey, and as predator.
Iinang Xaadee—Herring People play a vital role in the ecosystem. They nurture, feed, give of themselves to keep beings alive in all realms— undersea, earth, and sky. When balance prevails, Herring People gather to dance in their great longhouse in such great numbers and with such vigour that the atmosphere overhead reverberates with their excitement. Now, Human Beings see Herring solely as a resource, blinded, not seeing their true value, only seeing monetary gain at the expense of the whole.” – April White
Serigraph, Edition of 145
“The Beings in the story ‘Bear Mother Myth’ are the backbone of this depiction. The main characters, the Prince of the Bear People, a Haida Princess, and their offspring, twin Bear Cubs, are encompassed by the silhouette of Taawaan (Chinook Salmon) to recognize the Northwest Coast Peoples’ oneness with all things and Salmon in particular. The Haida and Bear are unified by the sharing of their primary foods: berries and salmon. When a Being presents itself as food, it does so willingly and gives itself to sustain another life. This was given much reverence and it is believed that each entity possessed its own spirit. When the spirits gave generously, it meant that life was enriched far beyond the immediacy of a full belly granting the freedom to explore spiritual enlightenment.” – April White