Kwagud Kwikw (Eagle) Paddle
Availability: Only 1 available
Yellow Cedar wood
CA$3,600.00
Only 1 available
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- Description
- Additional Information
- Artist Bio
Yellow Cedar wood
Dimensions | 61 x 5.5 x 1" (154.94 x 13.97 x 2.54cm) |
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Product Number | I-86482 |
Artist | Kevin Daniel Cranmer |
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Nation | Kwakwaka'wakw Nation |
Description | Kwakwaka’wakw Nation Kwakwaka’wakw artist Kevin Cranmer was born in Alert Bay, British Columbia, but has lived all but four years of his life in Victoria. His father, Danny, is from the ‘Namgis Nation, while his mother, Lily, is from the Mamlilikala Nation. These are just two of the many Nations of the Kwakwaka’wakw peoples. Cranmer’s work often speaks to his diverse coastal background as he can trace his ancestry to the many Nations of Kwakwaka’wakw people as well the Tlingit of Alaska. As the nephew of Doug Cranmer, the renowned Kwak’waka’wakw artist and Namgis chief, Kevin has been immersed in the world of art from a very young age. His formal instruction came under the tutelage of his cousin, George Hunt Jr. He later worked with artists Tony Hunt Sr., Tony Hunt Jr., and Calvin Hunt. Kevin’s introduction to larger monumental sculpture began when he first started to work alongside renowned Nuu-chah-nulth artist, Tim Paul, in Thunderbird Park at the Royal British Columbia Museum. Thus, his large-scale works include several large co-operative projects: a 40 foot pole which stands in Stanley Park, Vancouver; a 36 foot pole carved for the closing ceremonies at the 1990 Commonwealth Games in Auckland, New Zealand and an elaborately carved and painted Chief’s seat for the newly rebuilt Big House in Alert Bay. Kevin Cranmer is an active participant in the continuation of his cultural heritage through the arts. He is a respected member of his community and is an initiated Hamatsa member, one of the most sacred of the complex secret dance societies of the Kwakwaka’wakw. His artistic works not only exhibit and share unique Kwakwaka’wakw formal traditions but also preserve those traditions for future generations. Kevin Cranmer continues to create pieces for family and for use in ceremony.
Accolades:
Exhibitions: 2014 Winter Solstice: Celebrating the Coming of Light, an online group exhibition at Coastal Peoples Fine Arts Gallery, Vancouver, B.C., November 2012 Cranmer + Gray, Duel Artist exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC. 2007 Coastal Legacy, Group exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC. 2006 Transcendence: a decade in perspective, Group exhibition at Coastal Peoples Fine Arts 2005 Where the Spirits Gather, Group exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC. 2005 Totems to Turquoise: Native North American Jewelry Arts of the Northwest and Southwest, Group Exhibition at the American Museum of Natural History. New York, USA. 2004 Box of Treasures, Group exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC. |
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“People of the Eagle” Frontlet, masterfully carved and painted by Kwakwaka’wakw artist Barry Scow, represents the Chief and his people of the Eagle clan. True to form of Barry’s fine carving, this frontlet portrays the Eagle with Sun, and commemorates Barry’s link to his Grandfather, who was a Chief, and to his heritage.
A Frontlet is a forehead mask attached to a woven headpiece, worn only by Chiefs and high-ranking individuals in order to display status. This particular frontlet carries the Eagle and Sun motif. The Eagle position belonged to the highest-ranking Chief in the village.
The Eagle lives in the sky, or Upper World, and represents status, power, peace and friendship. Eagle is the Chief of the birds, an honor he shares with the Woodpecker. The Sun is a popular Kwakwaka’wakw motif, used quite regularly in their art. The sun can represent life and creative forces as well as warmth and healing.
To further establish his high position, the Chief practiced a traditional act of discarding his wealth in front of other Chiefs. Much of this wealth was in the form of copper. To break the copper or throw it into the ocean, symbolized that he and his clan were modest of their wealth and that the value of friendship weighed more than the value of material wealth.
To assist the Chief with this historical display of modesty, a subordinate was appointed. The assistant is portrayed below the beak of the Eagle, carved in intricate detail, as one can see in the teeth and tongue of the human face. Another beautiful component of this piece are the Chief’s people, delicately cradled in the beak of the Eagle.
Other works by this artist
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