Availability: Only 1 available
Yellow Cedar wood
Only 1 available
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- Additional Information
- Artist Bio
Yellow Cedar wood
|Dimensions||2 x 7 x 4.75"|
Shawn Karpes was born in Vancouver, B.C., on May 12th 1968. His training began in 1982 with George Hunt Jr., Jim Gilbert and Victor Newman during a Native art program sponsored by three levels of Victoria public schools. In this program Shawn began experimenting in three dimensional form and began concentrating on basic design, painting and woodcarving. During this time Shawn’s mother, Elisabeth Karpes (nee Alfred), was working at Arts of the Raven Gallery and introduced Shawn to many carvers. As Shawn has been raised in Whitehorse and lived there until 1977, the world of Northwest Coast carving was a new experience to him although one to which he was connected by birth.
This introduction developed into a study of his family as well as the culture and history of the Nimpkish and Kwakwaka’wakw. Through this study Shawn was able to meet and befriend many artists who in turn inspired his own work.
In 1987 Shawn Karpes began working at Raven Arts in Victoria with Tony Hunt Sr., Tony Hunt Jr., and John Livingston. During this period Shawn Karpes increased his skill in box design and mask carving techniques. To learn the art of silver and goldsmithing Shawn worked with Fah Ambers for two years. This was followed by an opportunity to work on canoes and various carving projects with renowned Kwakwaka’wakw artists Wayne Alfred and Beau Dick.
Shawn belongs to the Namgis (Nimpkish) band and descends from Alfred, Hunt, Scow and Inis families. In his work Shawn pursues both traditional designs and the natural world. He will often depict the supernatural world using a combination of the two.
For the past three years Shawn has been working for the carving program at the Royal British Columbia Museum. In 2001 he volunteered to work on the ITUSTO restoration of the world’s tallest totem pole at Beacon Hill Park in Victoria, B.C.
Some of Shawn’s commissions include a carved wooden paddle with a sun design for Glanford Elementary School, Victoria B.C, a whale welcome figure and door for Victoria Native Housing Commission, Victoria, B.C., a new totem pole for Thunderbird Park at the Royal British Columbia Museum carved with Shawn Whonnock and Johnathan Henderson, a talking stick with eagle and bear for the Denver Museum Public Programs, a whale panel for Sir James Douglas School in Victoria, B.C., and the restoration of the thunderbird at Naden Navy Base in Esquimalt, B.C. Shawn has carved various potlatch pieces for Alert Bay families. In 1990 special recognition was given to Shawn Karpes, Doug Cranmer, Stephen Bruce, Fah Ambers, Richard Sumner and Jason Baker for their contributions to the potlatch tradition.
1994-2001 Tribal Miniatures (annual miniatures exhibition), Alcheringa Gallery, BC
2001 Raven, Moon and Sun: Carvers of the Coast, Alcheringa Gallery, BC
1998 Killerwhale and Crocodile, Alcheringa Gallery, BC
1989 Hunt Family Show, Legacy Gallery, Seattle, Washington
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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″