Availability: Only 1 available
Red Cedar wood, Abalone shell, Acrylic paint
Only 1 available
Reserve for Purchase
You may choose to reserve an item in consideration of purchase by clicking the "Reserve for Purchase" button (instead of Add to Shopping Cart). This allows you the opportunity to contact our gallery with any inquiries prior to purchase and it will ensure the item continues to be on hold while you are communicating with us.
If you should find an item already on "Reserve" that is of interest to you, please contact us directly at 604.684.9222 or firstname.lastname@example.org and we can provide you with the status of the piece and whether it will become available for purchase again, or if the sale is in progress with a buyer.
One of life’s most rewarding experiences is collecting fine art, and sometimes it’s best to take a little more time to make these acquisitions with ease. We understand and want to do everything possible to make collecting your next artwork more comfortable. At Coastal Peoples Gallery, we offer an interest-free layaway program and offer flexible terms which can be customized to your individual needs.
- Additional Information
- Artist Bio
Red Cedar wood, Abalone shell, Acrylic paint
|Dimensions||14 x 10.5 x 10.5"|
|Artist||Kevin Daniel Cranmer|
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 is from the ‘Namgis Nation and his mother is from the Mamlilikala Nation, two of the many Nations of the Kwakwaka’wakw people. 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 as the Tlingit of Alaska.
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 intiated Hamatsa member, one of the most sacred of the complex and secret dance socities of the Kwakwaka’wakw. His artistic works not only display unique Kwakwaka’wakw traditions but also preserve those traditions for future generations. Kevin Cranmer continues to create pieces for family and for use in ceremony.
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 Transcendance – A Decade In Perspective, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2005 Where the Spirits Gather, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2005 Totems to Turqoise: Native North American Jewelry Arts of the Northwest and Southwest, Group Exhibition at American Museum of Natural History. New York, USA.
2004 Box of Treasures, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
you may also like
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