Availability: Only 1 available
Argillite, Abalone shell
Only 1 available
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- Additional Information
- Artist Bio
Argillite, Abalone shell
|Dimensions||5.25 x 3.75 x 3.75"|
Andrew Williams was born in 1964 in Masset, located on Haida Gwaii.
His Crests include Raven, Shark, Kllerwhale, Grizzly and Raven-finned Killerwhale. He is a self-taught artist and has been carving since 1995. He describes his work as a “blend of traditional and contemporary art” and tries to convey his “passion for art, [his] Haida ancestry, and the Old Stories”.
In June of 1999, Andrew took a shaping course with Gary Minaker-Russ through the First peoples Cultural Foundation Grant. Andrew's influences are Christian White and Terry Yeltazie for their inlay work and Gary Minaker-Russ for polishing technique and form.
In 2009, Andy graduated from Vancouver's Northwest Coast Jewelry Arts program under established Haida/Kwakwaka'wakw artist, Dan Wallace.
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Red Cedar wood, Yellow Cedar wood, Abalone shell, Acrylic paint, Leather
The carving of flutes of the Northwest Coast extends back historically through time. The dramatic importance of the flute was indicated by the variety of specialized whistles, each of which was produced to make specific tones. Songs and dances were part fo all ceremony and ritual, a fundamental element of the inherited privilege. Equally important were the many whistles and other musical instruments that were specifically designated for most dances. Wooden whistles of one, two or three shafts, each with several holes and reeds produced a strong and clear note. Flutes and whistles were traditionally blown in the woods to introduce the cermonial season. Every instrument was the object of time, skill and concern and was considered by those who owned it as a necessary part of the family’s collection
Price upon request
Cattle Bone, Abalone shell, Cedar bark
Bentwood Box: Red Cedar wood
Commonly used by a Shaman, soul catchers were used to cleanse human souls and spirits. If a person was sick, or perhaps possessed by a demon spirit, the soul catcher was used to coerce the evil spirit out of the body. The open ends were caped with cedar bark to hold the soul until it was cleansed and brought back from the spirit world. The healed soul of the recipient was then returned to the body by the Shaman by blowing through the soul catcher and into to the patient’s mouth.
The shape of the soul catcher is typically cut from animal bone in such a way that the ends are flared outward and the surface is carved with figures associated with the Shaman’s spirit guides. Spirit guides accompany the human spirit or soul on its transformative journey between worlds. The ends of the Soul Catcher were sealed to contain these spirits. They also protect the boundaries between the physical and spiritual world, keeping those involved in the healing ceremony safe from evil minded spirits and beings. The symmetrical arrangement of the figures essentially defines objects of this type and the figures tend to more sculptural in appearance.
Soul catchers are extremely powerful and respected healing instruments; because of this, they were often housed in special bentwood boxes to keep them safe.
Soul Catcher: 1.25 x 7.75 x 1.25″
Including Stand: 4.75 x 7.75 x 1.5″
Bentwood Box: 4.75 x 10 x 6.25″