Availability: Only 1 available
Red Cedar wood, Cedar bark, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Cedar bark, Acrylic paint
|Dimensions||35 x 35 x 1"|
Jason Hunt was born in 1973 in Victoria, BC. His family is originally from Fort Rupert, a small Kwakwaka’wakw community on the north shore of Vancouver Island. This important region of Vancouver Island is home to many of British Columbia’s notable carvers.
Growing up, Jason was undoubtedly surrounded by his First Nations artistic heritage. His father Stan Hunt has been actively carving masks and totem poles, and his grandfather Mungo Martin was a key figure in totem pole restoration projects both at the University of British Columbia Museum of Anthropology and the Royal British Columbia Museum. It wasn’t until Jason’s third year of Business Administration at Comosun College in 1991 that he had a change in direction and began to explore the practice of Northwest Coast carving.
After watching his father during a family visit, Jason grew more interested in the practice and began to carve as well. Carving came to Jason with ease, as it has for many generations of Hunt family members. He began carving masks soon after and aspired to carve totem poles, which he eventually achieved with his brother Trevor.
While Jason’s art practice continues to grow, his work is still deeply rooted in a traditional Kwagiulth style and Jason strives to maintain authenticity in his works. His masks are exquisitely carved and explore traditional methods of design and processes of production. By using time-honored techniques to carve and create his works, he continues a historic art practice that has been passed down from generaton to generation. As a growing artist who continues to learn and expand his practice, Jason’s work can be found in several collections and continues to be sought after worldwide.
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Price upon request
This piece opens to reveal an inner box with relief engraving that echos the outer lid.
Traditionally, boxes were considered prized possessions and customarily used to store wealth or special ceremonial objects such as masks, rattles, clothing and adornments. People often gave names to these beautiful ornate boxes, told stories about their histories and treated them as family heirlooms. However, non-decorated boxes acted as instruments of life – from storing less precious articles, to food and later used for mortuary purposes. In Haida mythology, a stack of boxes contained the essence from which Raven created the world.
Eagle, Dogfish, Beaver and Frog Box retains its traditional elements through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline of this treasure. The gently angled lid with Abalone inlay, as well as the engraved and incised elements on the box is suggestive of the prototypic bent cornered wooden boxes and chests.
The box contains not only depictions of four important crest animals, but connects to past traditions in which a box held more than the material object, it also linked people to their heritage, lineage and each other.
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