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Red Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
|Dimensions||13.75 x 8.25 x 5"|
|Nation||Nuxalk/ Nuu-chah-nulth Nations|
Kelvin (Kelly) Robinson was born on May 18, 1981 in Nanaimo, British Columbia. He grew up in Bella Coola, BC. Descending from Nuxalk and Nuu-chah-nulth nations, Kelly was exposed to First Nations artwork. From an early age, he showed interest in learning and refining the art, specifically the unique from of the Nuxalkmc.
Under the guidance of his uncle, noted Master Carver, Alvin Mack, and his high school art teacher Charlene Kurtz, Kelly has developed his own techniques in the creation of two and three dimentional art forms. He has also had the pleasure of working under artists Dan Wallace, James McGuire and Cory Bulpitt.
Due to Kelly's desire from artistic development and perfection, he enrolled at the Native Education Centre in Vancouver, where he is currently taking a course in First Nations jewelry carving. Immediately following the completion of this course, Kelly will be attending the Freda Diesing School of Norther West Coast, where he will have the opportunity to work with renowned artist Dempsey Bob.
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Price upon request
Norman Tait with Lucinda Turner
Alder wood, Copper, Cedar rope, Horse hair, Operculum shells, Acrylic paint, Leather
Norman Tait’s exceptional Sun Hawk Mask stems from his father’s clan, the Tlingit Nation ancestry, and primarily represents one of his father’s family crest figures. While this exquisite mask depicts elements of a human face, the additional features, such as the beak, allude to its supernatural connection. Constructed from Alder wood, the wood’s unique grain is a strong element within the design and is used to exemplify the mask’s delicate human-like structure. Furthermore, the addition of acrylic paint and the stark horsehair locks add life to this Humanized Supernatural-being.
Featured in Finding A Voice: The Art of Norman Tait
10.5 x 9 x 7″ (excluding hair)
Red Cedar wood, Human hair, Acrylic paint
This Welcome Figure portrait mask, based on a Nuu chah nulth mask from the 1850’s, would be danced during a ceremonial welcome song which belongs to the David family of the Tla-O-Qui-Aht clan. Smoked elk hide has been rigged to the back of the piece to hold it securely in place when being danced.
Other works by this artist
Alder wood, Cedar bark, Cedar rope
Kelly’s inspiration for this exceptionally-styled Salmon Dancer Mask with the Salmon’s open mouth exposing a human face comes from a traditional Nuxalk ceremony, which occurs every spring and is meant to celebrate and honor the first Salmon run of the season.
Due to the widespread importance of Salmon among various coastal indigenous cultures, many First Nations communities throughout the Pacific Northwest Coast have their own variations of these celebrations that are held upon the return of the fish to the rivers surrounding their ancestral lands. The first catch is awarded a high level of symbolic and ceremonial importance, playing a principal role in the feasts and festivities that surround this event. In Nuxalk tradition, the first catch is referred to as the Spring Salmon.
“Every year, we use ceremony to honour the return of our Salmon runs. The first Salmon to make their way up the Bella Coola River is the Spring Salmon. Feasts are given back to the people at this time. A respected member of the people is chosen, then he in return sings and dances once a year for this gathering.”
– Kelly Robinson, 2019
Yellow Cedar wood, Acrylic paint
12 x 13 x 4.5″ (including base)
Spoons and ladles were traditionally made from either cedar wood or the horn of a mountain sheep, and their handles were carved with family crest images. Historically, these exquisitely sculptured objects were primarily created by people in Northern Nations, and were highly sought after by other nations. During potlatches [festive gatherings], cedar ladles decorated with the hosting family’s crests were used to serve food, while the elaborately carved mountain sheep spoons were distributed as gifts among the many guests.
Today, spoon and ladle productions are based on these traditional objects and are meant to be both objects of function and display. In addition to traditional mediums such as cedar wood, goat or mountain sheep horn, many modern-day spoons and ladles are constructed of gold, silver and pewter.