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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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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.
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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.