Availability: Only 1 available
Red Cedar wood
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood
|Dimensions||10 x 11.5 x 5.5"|
|Nation||Coast Salish (Squamish) Nation|
Tom Eneas’s talents are such that he receives much praise from his peers and elders; he carves with an expertise seldom seen in an artist of his youthful age. Evident in the lineal flow which graces his work, this artist shares an in-depth comprehension and an intimacy with each medium.
Born in Penticton, British Columbia in 1970, Tom moved to Vancouver in 1989 where he lived with his mother Verna Baker, of the Squamish nation. It was under her guidance that Tom began to explore his heritage. He maintains that it is through the continued support he receives from his family that he is able to explore his art and culture at a depth, which furthers his inspiration.
In 1991, at the age of twenty-one, Tom began studying the techniques to create the forms and lines traditional to Northwest Coast art and he began an exploration of the meaning behind the art. Tom’s studies culminated three years later when he carved his first two dimensional piece and his first mask which was then used in a ceremonial dance. Tom furthered his artistic training by apprenticing with Kevin Cranmer, a Kwakwaka’wakw artist who himself stems from the esteemed Cranmer lineage.
As a tribute to his flourishing artistic career, Tom was bestowed with the honour of redesigning and painting the surface of the Esquimalt Longhouse. He strengthened his status when he collaborated with other First Nation’s artists in carving a totem pole, which is now housed in front of Vancouver Technical High School in Vancouver.
Tom Eneas is setting an artistic precedent, not only for the upcoming generations of First Nation artists, but also, for his contemporaries. His cognizance of the roots of his culture only furthers his journey into this artistic realm. On the cusp of being elevated to the stature of master carver, Tom Eneas has a prosperous future.
2011 “Coast Salish Masterworks”, Coastal Peoples Gallery
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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.