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18K Yellow Gold, Engraved
Only 1 available
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- Additional Information
- Artist Bio
18K Yellow Gold, Engraved
|Dimensions||1 x 6 "|
Born in 1955, Lyle Wilson is a Haisla artist from Kitamaat Village, which is near the town site of Kitimat, British Columbia, Canada. The Haisla Nation is often referred to as Northern Kwakwaka’wakw; however, their historic artistic style has influences from various sources – notably Kwakwaka’wakw and Tsimshian, as well as developing distinctive qualities of their own. The name Kitamaat means, “People of the Snow” and refers to the large amount of snow received by this region. Tsimshian people visiting the Haisla people in mid-winter arrived to see people emerging from big houses completely buried by the snow so the name Kitamaat seemed an appropriate description.
The Haisla Clan system is matrilineal and although he was born into the Beaver Clan, Lyle was formally adopted into his father’s Eagle Clan. Due to the high death rates at this time, his Eagle grandmother formally adopted both Lyle and his sister to help ensure the continuation of the Eagle Clan. This was a small but important event, which helped shape Lyle’s view of Haisla culture.
Lyle was always conscious and appreciative of Haisla art, which was present in his formative years. In this regard, his first artistic influence was his uncle, Sam Robinson, who is a full-time carver. Fascinated, Lyle watched him and occasionally whittled to the best of this abilities. He did not pursue art as a possible profession until he attended the University of British Columbia. At this time, he committed to a career in art education, but found time spent in the studio more compelling – eventually leaving to pursue his own artistic interests at the Emily Carr College of Art and Design. He graduated with a diploma in printmaking and began to develop his individual style. This artistic style has its roots in graphics, but also envelopes his three-dimensional works in wood and jewelry.
Today, a renowned artist, Lyle works closely with University of British Columbia’s Museum of Anthropology where he has further pursued his interest in replicating historic Haisla art for future generations to understand and visualize. Lyle has been involved with many important private and public commissions that have aided in the awareness of Haisla art.
Additionally, he has been involved in a number of group and solo exhibitions since 1981 both locally and abroad. Some of his public commissions can be viewed at the Museum of Anthropology, BC Sports Hall of Fame, Canadian Consulate in Osaka, Japan, Canadian Institute for the Blind, EXPO 1992 and at the UBC First Nations House of Learning.
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Price upon request
Yellow Cedar wood, Ablone shell
"This carved soapberry spoon has one of the more interesting tales of my exhibit; its nickname is 'SHOW-STOPPER' for good reason! While carving this piece, I kept pushing myself to go beyond what the original idea had been and was so consumed in pursuing that goal I became impatient and careless. I tried to use my carving tool for something it wasn’t designed to do and it slipped and cut my finger’s tendon!
Thankfully it could be operated upon and repaired, but the healing period took 10 weeks out my carving schedule. As a result, my exhibition came to an abrupt halt and I had a lot of time to reflect on what had happened and why. When I eventually resumed carving, I spent a very long time on the 'SHOW-STOPPER' because, in my mind, although it’s small and it held up my show, it now deserved to become something extra-special. I’m extremely pleased with the way it turned out!
The spoon depicts the traditional tale familiar to every Pacific Northwest Coast group: Raven discovering daylight. The sun, stars and moon can be present or left out of some versions. The Raven occupies the spoon’s bottom, while the handle is topped with the Sun on one side and the Star on the opposite side."
-Lyle Wilson, 2016
18K Yellow Gold, Engraved, Textured
“This pendant is conceived as being one side of a miniature bentwood box. Often such faces met at the box’s corner and, when viewed simultaneously, they formed one face. Traditional bentwood boxes were decorated with a face that supposedly represented a spirit that guarded the treasures held in such boxes.”
-Lyle Wilson, 2016