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Yellow Cedar wood, Acrylic paint
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Yellow Cedar wood, Acrylic paint
|Dimensions||62 x 6 x 1.5"|
|Nation||Nuu-chah-nulth / Sioux / Dakota Nations|
Nuu-chah-nulth / Sioux / Dakota Nations
Douglas David was born in 1971 into the Nuu-chah-nulth nation, on his father’s side and the Sioux Dakota nation on his mother’s side. Both his parents are artists, and from birth Douglas has been exposed to the traditional art of these cultures. At the age of eight Douglas realized his visions could be transferred from thought to hand and has been carving ever since. Douglas acknowledges his father Joe David, a renowned master carver along with Douglas’s mother and ancestral spirits as his teachers and mentors.
Douglas’s specific crests belonging to the Nuu Chah Nulth nation are the Wolf, Killerwhale, and Thunderbird. These crest images are prevalent in his works on wood and raw hide. Now, as a single parent of 7 children, he has passes on his own experiences and knowledge to them to ensure the continuation of this artform from one generation to the next so it will thrive and survive.
Douglas is an experienced carver and his works are in various collections worldwide. He is considered part of the next generation of master artists of the Northwest Coast.
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Cattle Bone, Abalone shell, Cedar bark
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 6.75 x 1.25″
Including Stand: 3.25 x 6.75 x 1.5″
Box: 5.75 x 8.75 x 5″
Yellow Cedar wood
A ceremonial dish, also known as a feast dish or potlatch dish, was a treasured heirloom which families brought out for great feasts as a gesture of hospitality and welcoming. Presently, many ceremonial dishes are carved in miniature form, meant for collectors who appreciate the historic and symbolic value behind each artwork. This aspect of the art is considered to be a contemporary turn that northwest coast native art has taken throughout the years.
Garner began carving at the early age of nine and, by age fifteen, he was carving his first piece of argillite. After moving to Vancouver in 1987, he spent the next two years working with renowned Haida artist Bill Reid on his Lootaas canoe and alongside a host of accomplished carvers such as Alfred Collinson, Rufus Moody, Giitsxaa, Nelson Cross, and Ding (Melvin) Hutchingson. Moody works in various mediums including cedar, gold, argillite and paper – all exemplifying his exquisite attention to detail and extraordinary artistic skills.