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- Additional Information
- Artist Bio
|Dimensions||6 x 2.5 x 2.5"|
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 the Queen Charlotte Islands 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.
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Argillite, Abalone shell, Mother of Pearl, Catlanite
This ornately detailed panel pipe inlayed with catlanite, abalone shell and mother of pearl tells the ancient story of Nanasimgit.
The man or Nanasimgit is depicted at the bottom of the pipe holding skils to represent his stature. It shows the numerous potlatches he has held. The following story is a shortened version as told by the artist, Christian White:
One day, the man’s wife was washing sea otter skins near the ocean, when a Killerwhale arose from the surface. It coaxed her into the water and carried her seaward while her husband watched in disbelief. Without hesitation, he quickly decided to follow them until the Killerwhale dove near a two-headed kelp, which prevented him from going any further. He was feeling quite distraught as he returned back to the village but by then he had decided to seek the help of his uncle, the Frog.
The Frog offered him advice on how he could get his wife back and suggested that he take specific objects with him for his journey. He brought spruce root twine, a gimlet and medicine, placing them in his canoe. But, before he embarked on his journey, he was urged to undergo a fast in order to cleanse his body, which involved various rituals.
Once the fast was completed, the man embarked on his quest until he came across the kelp he had encountered before. He tied his canoe to the kelp along with his possessions and climbed down beneath the surface to find himself in another world. He followed a path where he encountered three blind women that resembled Geese. He used his medicine to cure two of the women while the third one chose not to accept the medicine. The cured women vowed to repay him for his deed. As he proceeded onward, the man came across two slaves, from the Killerwhale clan, chopping wood. As they proceeded to chop the wood, the head of their axe fell off and they began to cry knowing the consequences they would face from the Chief. The man stopped to assist them and in return they directed him to his wife’s dwelling. The slaves warned the man of the watchmen pole that stood in front of the longhouse protecting the inhabitants. The watchmen had the ability to scent out and watch out for intruders.
While he proceeded further on his path and thought about how to divert the watchmen, the man encountered a Heron repairing a canoe without success. The man stopped to offer him his gimlet to successfully repair the canoe. In return for his generosity, the Heron helped conceal the man under his wing blanket from the Black Whale guards and the watchmen. He successfully entered the longhouse to happily find his wife. At this point, the watchmen discovered the man taking his wife back with him, but were unable to stop him.
When the man arrived back with his wife to his village he felt a different connection with her, as though she was not herself. At night, he would keep her in a bentwood box, but one morning when he awoke, to his surprise she escaped. She left to be with her Killerwhale family and fully transformed into a Killerwhale. This was the last he saw of her.