Availability: Only 1 available
Red Cedar wood, Cedar bark, 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, 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.
you may also like
Yellow Cedar wood, Acrylic paint
“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.
Price upon request
Bone, Abalone shell, Cedar bark, Woven Leather cord
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: 1.5 x 9.25 x 1.5″
Including Stand: 2.75 x 9.25 x 3″
Birch wood, Abalone, Ivory
For more details on shipping Ivory outside of Canada, please click here and then click open the Shipping section and scroll down to read more on Shipping Restrictions.
A frontlet is a forehead mask attached to a woven headpiece. It is worn by chiefs and high-ranking individuals as a display of crests and status. Frontlets are often decorated with materials that are symbols of wealth and power: abalone shell, operculum shell, sea lion whiskers, feathers and/or ermine pelts.
The intelligent Eagle symbolizes status, power, peace and friendship.
Sterling Silver; Repousse, Engraved
Derek White’s extraordinary Beaver & Eagle Fish Bowl, created in the traditional Haida form and utilizing the ancient technique of repousse to add dimension, demonstrates his articulate master carving and artistry skills. Containers such as bowls were traditionally created out of Cedar or Alder wood and utilized in daily life. The chosen medium of silver serves as a contemporary progression of this ancient art form while illustrating the intricate foundational links which combine cultural heritage with the arts.