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Yellow Cedar wood, Operculum shell, Abalone shell, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Yellow Cedar wood, Operculum shell, Abalone shell, Acrylic paint
|Dimensions||67 x 8 x 1"|
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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This piece opens to reveal an inner box with relief engraving that echos the outer lid.
Traditionally, boxes were considered prized possessions and customarily used to store wealth or special ceremonial objects such as masks, rattles, clothing and adornments. People often gave names to these beautiful ornate boxes, told stories about their histories and treated them as family heirlooms. However, non-decorated boxes acted as instruments of life – from storing less precious articles, to food and later used for mortuary purposes. In Haida mythology, a stack of boxes contained the essence from which Raven created the world.
Eagle, Dogfish, Beaver and Frog Box retains its traditional elements through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline of 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.
The box contains not only depictions of four important crest animals, but connects to past traditions in which a box held more than the material object, it also linked people to their heritage, lineage and each other.
Bronze Cast, Marble base
Edition of 12
9.5 x 8 x 5″
Volcano Woman is perhaps one of the oldest and most revered legends which tells of a mortal”s fate if he/she does not treat sacred objects or creatures with respect. In defense of her beloved wild creatures, she controls the powerful volcanoes. Stories tell of how the killing of a frog leads the Volcano woman to destroy an entire village.
Volcano Woman is a supernatural, powerful person in First Nations mythology. She had a son who, like his mother, had supernatural abilities. He often liked to change from his Human form to that of a Frog (Wukus).
Years ago, a Prince and his two friends went fishing. Hungry, they lay their food on leaves. The Wukus (Frog), being mischievous, jumped on their food. Twice the young Prince threw the Frog into the shrubs but on the third time they threw the frog into the fire and killed the innocent creature.
A few nights later, a woman could be heard crying and wailing. “Who has done this, come forward and I will spare your village.” This warning went unheeded for some time until finally a Woman of the Elders went to the village outskirts to see her. Volcano Woman instructed the Woman of the Elders to send forth the three young men and she would spare the village from volcanic destruction. The Woman of the Elders begging for the sake of the Village told of Volcano Woman”s ultimatum – but this warning went unheeded.
On the final night of the village’s existence, Volcano Woman was heard saying, “I asked for those responsible to take heed and now you will know my vengeance.” The Village shook, a Volcano erupted, destroying the village and all who lived there.