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Red Cedar wood, Abalone shell, Operculum shell, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Abalone shell, Operculum shell, Acrylic paint
|Dimensions||24 x 34.5 x 14.75"|
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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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.
Sterling Silver, Argillite, Abalone shell, Engraved
Although Derek White’s Beaver and Bear Box is constructed from the contemporary material of Sterling Silver combined with Argillite, this box retains its traditional values through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline on this treasure. The gently angled lid with Abalone inlay as well as the engraved and incised elements on the box is suggestive of the prototypic bent cornered wooden boxes and chests.
Ivory, Abalone, Sterling silver, engraved
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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.
Sterling Silver; Repousse, Engraved
Derek White’s extraordinary Beaver & Eagle Fish Bowl, created in the traditional Haida form and utilizing the ancient technique of repousse to add dimension, demonstrates his articulate master carving and artistry skills. Containers such as bowls were traditionally created out of Cedar or Alder wood and utilized in daily life. The chosen medium of silver serves as a contemporary progression of this ancient art form while illustrating the intricate foundational links which combine cultural heritage with the arts.
Other works by this artist
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 Raven 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.