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Red Cedar wood, Acrylic paint
Price available on request
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- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
|Dimensions||42 x 42 x 3"|
Born on July 27th, 1976, Jay Simeon’s heritage is a blend if two very different backgrounds; plains and northwest coast First Nations. He is Blackfoot on his mother’s side and Haida on his father’s from a small village named Kiusta. Located along the northwestern tip of Haida Gwaii, north of Old Masset, it is considered to be an ancient totem pole sanctuary. Jay’s prominent family crests include the Eagle, Killerwhale, Cormorant, Frog, Beaver, Flicker and Raven. He has a strong connection to both sides of his roots, however, has begun to pursue more of his Haida heritage by way of his artwork.
At the tender age of fourteen Jay began to pursue designing under the guidance of Sharon Hitchcock, a Haida artist who is his first cousin. He progressed rapidly as an artist and has become a proficient designer interested in exploring various mediums. One of these mediums is argillite, a slate inherent to the Haida culture.
After moving to Vancouver, Jay was introduced to Andrew Williams, an emerging argillite carver and dealer. His influence inspired him to take up the art of carving this material. In a relatively short timeframe Jay progressed very rapidly. He creates some outstanding works that are elaborately inlayed with abalone shell and mastodon ivory. He is incredibly detail oriented and reveals exquisite artistry in each piece he creates. In addition, Jay is currently carving cedar wood specializing in miniature and model images such as masks, poles, canoes, and feast bowls. His abilities clearly extend beyond his years and he is well on his way to achieving his goals of becoming one of the leading artists of the 21st century.
2011 BC Creative Achievement Award in First Nations’ Art
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Price upon request
Cattle Bone, Abalone shell, Cedar bark
Commonly used by a Shaman, soul catchers were used to cleanse human souls and spirits. If a person was sick, or perhaps possessed by a demon spirit, the soul catcher was used to coerce the evil spirit out of the body. The open ends were caped with cedar bark to hold the soul until it was cleansed and brought back from the spirit world. The healed soul of the recipient was then returned to the body by the Shaman by blowing through the soul catcher and into to the patient’s mouth.
The shape of the soul catcher is typically cut from animal bone in such a way that the ends are flared outward and the surface is carved with figures associated with the Shaman’s spirit guides. Spirit guides accompany the human spirit or soul on its transformative journey between worlds. The ends of the Soul Catcher were sealed to contain these spirits. They also protect the boundaries between the physical and spiritual world, keeping those involved in the healing ceremony safe from evil minded spirits and beings. The symmetrical arrangement of the figures essentially defines objects of this type and the figures tend to more sculptural in appearance.
Soul catchers are extremely powerful and respected healing instruments; because of this, they were often housed in special bentwood boxes to keep them safe.
Soul Catcher: 1.25 x 6.75 x 1.25″
Including Stand: 3.25 x 6.75 x 1.5″
Box: 5.75 x 8.75 x 5″
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.