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Yellow Cedar wood, Operculum shell, Abalone shell, Acrylic paint
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- Additional Information
- Artist Bio
Yellow Cedar wood, Operculum shell, Abalone shell, Acrylic paint
|Dimensions||72 x 8 x 1.5" (182.88 x 20.32 x 3.81cm)|
Moy Sutherland is from Ahousaht First Nations, on the West Coast of Vancouver Island, British Columbia. Moy carries two traditional names: Hiish-Miik, which translates as “someone who gets whatever they are after” and Chiotun from the Coast Salish village of Sliammon, which translates as “someone who helps.” Born on January 4, 1974, Moy grew up immersed in his culture and its traditions.
Moy has submerged himself in his artist career for 20 years. In 1994, Moy began his artistic career in Alert Bay, BC, learning the principals of carving. Upon mastering basic techniques, Moy moved home to his traditional territory to learn more about Nuu-chah-nulth art forms thus broadening his horizons to include the Nuu-chah-nulth style. Even at the beginning of his artistic career, Moy demonstrated intelligence and meticulousness as an artist.
In 2000, Moy’s artistic development became further focused when he began an apprenticeship with world-renowned Nuu-chah-nulth artist Arthur Thompson. Arthur mentored Moy until Arthur’s death in March of 2003. While working with Arthur, Moy furthered his understanding of Nuu-chah-nulth design structure and refined his skills. Through assisting with, and later working on projects together, Arthur also shared his vast knowledge of totem pole carving, traditional bentwood box construction, and articulated mask structure and assembly. More importantly Moy also learned the cultural significance of form structure, design and carving methods from Arthur. The influence and lessons of his mentor and friend are a large influence on Moy’s present day art.
Moy has the benefit of having learned his craft from both Kwakwaka’wakw and Nuu-chah-nulth artists. He has used the experience to broaden his understanding of all Pacific Northwest Coast First Nations’ art forms. Although he is very mindful of staying within the traditional rules and values of his culture, he strives to find ways to set himself apart from other artists. He enjoys exploring different media and he is refining his own unique style, both with modern and traditional techniques. For Moy, his art is very deeply rooted in his culture. He finds it both spiritually rewarding and educational.
Moy comes from a very traditionally rooted family, where the Nuu-chah-nulth culture is a large part of everyday life. Until his tenure with Arthur Thompson, he was pursuing a degree in anthropology, focusing on the traditional aspects of First Nations’ culture. For Moy art and anthropology are natural interests and connect to each other; he believes both meet on a journey into the history of his people; a journey that, for him, is a path of understanding and appreciating the connection between the natural world and his culture, and the expression of it in artistic form.
Moy’s work can be found in galleries, museums, magazines & books, and private collections throughout the world.
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CA$2,375.00Goat Horn, engraved, with Yellow Cedar wood base
Spoons and ladles were traditionally made from either cedar wood or the horn of a mountain sheep, and their handles were carved with family crest images. Historically, these exquisitely sculptured objects were primarily created by people in Northern Nations, and were highly sought after by other nations. During potlatches [festive gatherings], cedar ladles decorated with the hosting family’s crests were used to serve food, while the elaborately carved mountain sheep spoons were distributed as gifts among the many guests.
Today, spoon and ladle productions are based on these traditional objects and are meant to be both objects of function and display. In addition to traditional mediums such as cedar wood, goat or mountain sheep horn, many modern-day spoons and ladles are constructed of gold, silver and pewter.
Yellow Cedar wood, Acrylic paint
“People of the Eagle” Frontlet, masterfully carved and painted by Kwakwaka’wakw artist Barry Scow, represents the Chief and his people of the Eagle clan. True to form of Barry’s fine carving, this frontlet portrays the Eagle with Sun, and commemorates Barry’s link to his Grandfather, who was a Chief, and to his heritage.
A Frontlet is a forehead mask attached to a woven headpiece, worn only by Chiefs and high-ranking individuals in order to display status. This particular frontlet carries the Eagle and Sun motif. The Eagle position belonged to the highest-ranking Chief in the village.
The Eagle lives in the sky, or Upper World, and represents status, power, peace and friendship. Eagle is the Chief of the birds, an honor he shares with the Woodpecker. The Sun is a popular Kwakwaka’wakw motif, used quite regularly in their art. The sun can represent life and creative forces as well as warmth and healing.
To further establish his high position, the Chief practiced a traditional act of discarding his wealth in front of other Chiefs. Much of this wealth was in the form of copper. To break the copper or throw it into the ocean, symbolized that he and his clan were modest of their wealth and that the value of friendship weighed more than the value of material wealth.
To assist the Chief with this historical display of modesty, a subordinate was appointed. The assistant is portrayed below the beak of the Eagle, carved in intricate detail, as one can see in the teeth and tongue of the human face. Another beautiful component of this piece are the Chief’s people, delicately cradled in the beak of the Eagle.
Elk hide, Sinew, Acrylic paint
The drum is considered one of the main percussive instruments, along with the rattle, which was used in traditional Northwest Coast ceremonies and cultural events. Its beat provides the basis from which dances, songs and oral histories are performed during a Potlatch.
The Thunderbird is a supernatural, mythical creature that lives high in the mountains and feeds on Killerwhale. It’s been aptly named for the thunder that rolls off its wings and lightening comes from its eyes when it flies.
Other works by this artist
Available upon special order – individually custom-made
Red Cedar wood, Stainless steel, Acrylic paint
Limited-edition of 11
With a traditional formline design etched into the contemporary medium of glass, Moy Sutherland’s Thunderbird & Salmon Panel constitutes an elegant example of coastal First Nations’ artwork in the modern era.
While panels are a common feature of Pacific Northwest Coast art, they are primarily carved from laminated planks of cedar wood. Glasswork panels are still quite rare, but truly attest to the evolution of contemporary coastal art over the last decade. This particular panel is a lovely illustration of the interplay between tradition and innovation that can be found in many Northwest Coast artworks of today.
Price upon request
Red Cedar wood, Abalone shell, Acrylic paint
Moy Sutherland’s “Wolf of the Sea” Panel is a striking depiction of a powerful Pacific Northwest Coast figure. The size of the panel allows the full figure to pan down the face of the wood, inviting the eyes of all in its vicinity. Combined with a generous use of Abalone inlay, the final result is a truly impressive work of art.
The Wolf is seen as a symbol of patience, individuality, provider, unity, and family. Out of all the animals, Wolves are believed to have the strongest supernatural powers and are often sought as spirit aids by hunters. Wolves are the counterpart to the Killerwhale. They are fierce protectors of family and are known to mate for a lifetime.
The Killerwhale, often referred to as the “Wolf of the Sea,” is associated with family, power, strength, dignity and communication. Like the Wolf, Killerwhales are fierce protectors and mate for a lifetime. According to coastal First Nations oral traditions, Killerwhales live in villages deep within the ocean, where they remove their skins and live as large humans. They are said to be the reincarnations of great chiefs, and are reputed to act as guides to humans caught within storms.