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Yellow Cedar wood, Acrylic paint
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- Additional Information
- Artist Bio
Yellow Cedar wood, Acrylic paint
|Dimensions||61.25 x 5.5 x 1.5"|
|Artist||Kevin Daniel Cranmer|
Kwakwaka’wakw artist Kevin Cranmer was born in Alert Bay, British Columbia, but has lived all but four years of his life in Victoria. His father, Danny, is from the ‘Namgis Nation, while his mother, Lily, is from the Mamlilikala Nation. These are just two of the many Nations of the Kwakwaka’wakw peoples. Cranmer’s work often speaks to his diverse coastal background as he can trace his ancestry to the many Nations of Kwakwaka’wakw people as well the Tlingit of Alaska.
As the nephew of Doug Cranmer, the renowned Kwak’waka’wakw artist and Namgis chief, Kevin has been immersed in the world of art from a very young age. His formal instruction came under the tutelage of his cousin, George Hunt Jr. He later worked with artists Tony Hunt Sr., Tony Hunt Jr., and Calvin Hunt. Kevin’s introduction to larger monumental sculpture began when he first started to work alongside renowned Nuu-chah-nulth artist, Tim Paul, in Thunderbird Park at the Royal British Columbia Museum. Thus, his large-scale works include several large co-operative projects: a 40 foot pole which stands in Stanley Park, Vancouver; a 36 foot pole carved for the closing ceremonies at the 1990 Commonwealth Games in Auckland, New Zealand and an elaborately carved and painted Chief’s seat for the newly rebuilt Big House in Alert Bay.
Kevin Cranmer is an active participant in the continuation of his cultural heritage through the arts. He is a respected member of his community and is an initiated Hamatsa member, one of the most sacred of the complex secret dance societies of the Kwakwaka’wakw. His artistic works not only exhibit and share unique Kwakwaka’wakw formal traditions but also preserve those traditions for future generations. Kevin Cranmer continues to create pieces for family and for use in ceremony.
2012 Cranmer + Gray, Duel Artist exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2007 Coastal Legacy, Group exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2006 Transcendence – a decade in perspective, Group exhibition at Coastal Peoples Fine Arts
2005 Where the Spirits Gather, Group exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2004 Box of Treasures, Group exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
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Yellow Cedar wood, Red Cedar wood, Glass, Etched, Sandblasted, LED Illumination, Acrylic paint
“This piece is a representation of the Moon which is [an] ancestral part of our mythology. Moon is said to have been the great leader who changed great things in his time among our people. Being half human and half sky being, he was part of the people. This depiction in particular, shows the Salmon numbered in five, which also denotes the number used in defining Puyallup stories as these are shared through the Puget Sound.” – Shaun Peterson
The artist has mixed conventional Northwest Coast materials with modern media to create this moon panel, Keeper of the Tide.
The central figure represents the face of the moon. In Northwest Coast culture, the Moon is regarded as a symbol of protection and guardianship. The Moon is often associated with transformation.
Using sandblasted glass, Shaun has incorporated swimming salmon circling the Moon’s face. Salmon are honoured and celebrated by all coastal peoples: the fish serves as a powerful symbol of regeneration, self-sacrifice, and perseverance. Shortages of salmon are traditioally attributed to human disrespect and refusal to listen to and live by the wisdom of elders.
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.
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