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Red Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
|Dimensions||8.2 feet x 24 x 22"|
Chief Tlasutiwalis, Kwagu'l, Fort Rupert
Hereditary Chief Na-soom-yees, Mowochaht, Friendly Cove
Born in 1956 into a wealth of traditional values, Calvin started woodcarving Northwest Coast Indian art at the age of 12. From 1972 to 1981, Calvin carved full time as an apprentice with Tony Hunt, Sr. (Arts of the Raven Gallery, Victoria, BC.). Calvin moved to his ancestral home of Fort Rupert in 1981 with his wife, Marie.
In May 1988, he carved and raised the Hunt Pole in Fort Rupert, (which is hereditarily owned by his oldest brother, George Hunt Sr.), with the assistance of his brothers, nephews and cousins, he also carved a memorial grave figure for his father at the Fort Rupert cemetery. These poles were the first such poles raised in the village in approximately 70 years.
With the resurgence of canoe building in 1993, Calvin and his nephew, Mervyn Child, carved a 32' Northern Style canoe that represented the Kwagu'l Nation at “Quatuwas” canoe gathering in Bella Bella. This canoe, named after his mother, “Maxwalaogwa”, belongs to the Maxwalaogwa Canoe Society, formed by Calvin’s wife, Marie. Calvin has also carved the 32' Northern Style “I-Hos”, and 40' Northern Style “Ugwamalis Gixdan”, with Mervyn's assistance. He has helped with the carving of a Munka canoe, and a 37' West Coast Style canoe from Quatsino. Calvin and Mervyn Child are currently carving a Head Canoe.
In 1995, during a potlatch given by Calvin and his brother, Ross Hunt Sr., he received his Chief's name, Tlasutiwalis, from his wife's side of the family. In July of 1998, he was seated as the fourth primary Chief of the Mowachaht; the Hereditary Chieftainship, which belonged to his grandfather, Dr. Billy, of Tsuwana (Friendly Cove), his Chie’s name being “Nas soom yees”.
Calvin’s success as an artist has not gone unrecognized. In 2004 he was appointed to the Royal Canadian Academy and recieved the British Columbia Aboriginal Achievement Award in 2009. Calvin continues his work in Northwest Coast Indian artwork, working in wood, including canoe building, original silk-screened prints, gold and silver jewelry, and stone carving.
“My art work crosses the continuum of history and the present. I enjoy being able to share our culture with the world, and I feel very fortunate to have the capacity to pass on our Elders’ teachings. Most importantly, it is a way for us to teach our children, our “Gwa’layu”, (our reason for living) by providing a creative, inspiring environment that generates knowledge of their crests, legends, songs and dances, giving them a sound foundation of their identity.” – Calvin Hunt
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Yellow Cedar wood, Acrylic paint
Breaking Dawn 6: Beaver Eagle and Ancestor
“Nanakwa: The Return Series” is a series of carvings undertaken by master Haisla artist Lyle Wilson. The series, whose name appropriately translates to “Breaking Dawn”, is the reinterpretation of historical finds from Lyles home, the Haisla village of Kitimat.
With an impressive career spanning over thirty-five years, and the privilege of once being the Museum of Anthropology’s artist in residence, Lyle has had the unique opportunity to work with and learn from historical artworks and artifacts from past generations.
The Nanakwa series was inspired by the scrupulous studies of four age worn “Jew-Chum” (House-Posts) in the Museum’s collection. Lyle was able to uncover carving and painting details which had been lost over the centuries. These original artifacts were recovered by Methodist Minister G.H Raley in the 1800s.
With this deeper understanding of the historical pieces, Wilson has gone on to create a set of unique pieces that pay tribute to the knowledge of his ancestors.
“In this manner I can respect the achievements of the previous traditional HAISLA carvers that created the old JEW-CHUM yet add my own touches to the mix — essentially meaning I can intellectually “reach out and touch base” with those old masters!”
The piece outwardly resembles the Coloon Jew-Chum from the museum, but on closer inspection he has re-worked the design and taken stylistic influence from the other Jew-Chums in his studies. A prime example being the style of form-line painting which is particularly evident on the ancestor figure’s head is something he had uncovered on another Jew-Chum.
“I conducted 5 days of inch-by-inch examination of the JEW-CHUM and based on that research, spent another 5 days completing 4 color-drawings which “revealed” each house-post’s hidden formline paintings.”
“Nanakwa 6” focuses on ancestry; both in how Lyle has beautifully re-imagined his ancestor’s work, and also in what this piece depicts. Wilson was born into the Coloon clan and later in his life he was adopted into the Exstookoya clan. The piece tells the story of Lyle personal heritage and of those who came before him.
Red cedar wood
When Garner Moody moved to Vancouver in 1987, he spent two years working with renowned Haida artist Bill Reid. Soon after, he moved back to Haida Gwaii (Queen Charlotte Islands) to draw inspiration from their traditional way of life.
Throughout his years of carving, Garner continues to preserve the northern Haida form line exemplified in this linage pole. His composition and balance furthers the notion that Garner demonstrates expertise in design, detail and form line.
Garner depicts crest figures signifying important family crests, such as the Eagle, Killerwhale and Thunderbird.
As one of the most prominent beings in art and mythology, the Eagle is known for its grace, power and prestige. Considered a majestic noble creature, the Eagle spirit is associated with freedom and lofty pursuits. Traditionally, Shamans believed that Eagle feathers were spiritually endowed and possessed healing powers. They used them in various ceremonial and ritual contexts; today these feathers are still strewn to welcome honored guests to peaceful and friendly gatherings.
The Eagle is respected for its intelligence as well as its vision, both figurative and literal, thereby claiming both honor and high stature. Although revered as a powerful hunter, the Eagle’s feathers are considered sacred.
The Eagle is one of two main family crests of the Haida nation and is known to mate with the same partner for its lifetime.
The Killerwhale is an important crest symbol associated with power, strength, dignity and communication.
Killerwhale Clans are thought to live in Killerwhale Villages deep within the ocean; when at home they remove their skins and live as large humans. Mating once for life and thought to be the reincarnation of great chiefs, these majestic animals are the protectors of mankind. While known to capsize canoes and carry the inhabitants to their Killerwhale Village, they are also reputed to act as guides to humans caught within storms.
This stoic pole typifies Garner Moody’s commitment and dedication to the preservation of Haida mythology and heritage. His experience culminates in this work and, as the totem represents the messenger of cultural identity, this is a prime example of function and form working in perfect harmony.