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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||96 x 19 x 15"|
Born in 1960 in Queen Charlotte City on the Queen Charlotte Islands, British Columbia, Tim Boyko has been carving for over 25 years. Currently, Tim lives in Uearset.
He first began carving at the young age of 14, and his primary medium by choice was Argillite, which is a black shale stone indigenous to the Queen Charlotte Islands. Eventually, Tim progressed to jewelry and his favourite metal, silver.
As Tim notes, “We used to steal Billy’s (Bellis) mom’s quarters. The quarters made before 1968 had enough silver in them to work with. We’d pound them into shape, and make pendants out of them,” he says. “I love silver because it’s got a nice feel to it, it’s soft.”
His apprenticeships were with luminary artists, such as Bill Reid during the 1980’s, prominent Argillite artist Alfie Collinson, as well as carving canoes with Morris White (Christian White’s father).
After 20 years of carving, Tim embarked upon his newest medium, wood carving. He carved a small totem for Skidgate Elementary School, but his first major work was a Sgaang Gwaii Pole at Qay’llnagaay where he was among the lead carvers. Tim says the design was inspired by a house frontal pole raised on Sgaang Gwaii.
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Price upon request
Yellow Cedar wood, Acrylic paint
This stunning pole was inspired by the story of how the Beaver Clan came to be part of the Haisla Nation. Each figure depicted on the pole represents an important episode in the journey that the characters in the story take. From top to bottom, the figures being depicted include a squirrel, a halibut, a giant man that is holding an otter, and two beavers.
This particular Haisla story is quite old, and Lyle is one of the few individuals who still knows all of the details. The pole is Lyle’s contemporary portrayal of the tale, which pays tribute to the ancient family connections between the present-day Haisla and their neighbors.
Serigraph, Edition of 100
(For inquiries on custom framing, please contact the gallery)
“This contemporary Coast Salish sun design is an attempt to mediate between the Hul’qumi’num language (the language of the Cowichan Tribes) and English. There have been various anglecized spellings of this Hul’qumi’num toponym (place name), such as “Cowichan,” “Khowutzun,” and the currently accepted “Quwutsun.” This Hul’qumi’num term has been simplified and misinterpreted as meaning “The Warm Land,” when it should be more correctly interpreted as meaning “warmed by the sun,” or “basking in the sun with your back turned to the sun.”
The four eclipsed suns surrounding the central sun symbolize the darkness of ignorance blocking Daylight, a powerful source of truth.”
Red Cedar wood, Human hair, Acrylic paint
This Welcome Figure portrait mask, based on a Nuu chah nulth mask from the 1850’s, would be danced during a ceremonial welcome song which belongs to the David family of the Tla-O-Qui-Aht clan. Smoked elk hide has been rigged to the back of the piece to hold it securely in place when being danced.