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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||18 x 19.5 x 3"|
|Nation||Kwakwaka'wakw / Coast Salish Nations|
|Description||Klatle Bhi, pronounced "Klath Bay", was born in North Vancouver, British Columbia in 1966. His name, given to him by his grandmother, Emily Baker, means "Head Killerwhale of a pod of Killerwhales."
His interest in the art world began at a young age with avid study of his ancestors who were featured in museums and galleries. He spent two years apprenticing with master carver Simon Dick and attributes a large part of his success to this time.
Klatle Bhi spent many hours with Wayne Alfred, Wade Baker, and Rick Harry absorbing their understanding and knowledge of Native culture. His uncle, T. Richard Baker, has shared with Klatle the knowledge he has gained over many years of working with renowned Haida artists Bill Reid, Robert Davidson and Jim Hart.
Klatle is committed to the spiritual and cultural expression of his people. He has taken part in cultural events such as mask dancing, singing, Potlaching as well as playing a prominent role in the revival of sea-going canoe journeys. Many of his carvings and graphics express his personal and spiritual journey. To Klatle, creating with his hands serves as a source of purification and learning.
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Yellow Cedar wood, Abalone shell, Copper onlay, Acrylic paint
This mask was inspired by the tribal histories and origins of my grandmother Agnes (Hunt) Cranmer (Gwantilakw), and my grandfather Dan Cranmer (Pal Nakwala Wakas). Agnes (Hunt) Cranmer’s great grandmother was Mary Ebetts (Anisalaga), a Tlingit noblewoman from Tongass, Alaska, and the matriarch of the Hunt family. Anisalaga was a Chilkat blanket weaver, and the mother of ten children, she wove a blanket for each of her children, which is quite an undertaking considering it takes about a year to weave one blanket. The raven was Anisalaga’s main crest, and when she married into the Hunt family she brought the right to many treasures including the Raven crest, Raven frontlet, and the Chilkat blanket. The colours used to paint the sun mask (teal blue, white, black, and yellow) are the same colours that you would see in a Chilkat blanket. The two Ravens on the rim of the mask represent not only Anisalaga, but granny Gwatilikw who brought these privileges to the Cranmer family as a marriage dowry. The Raven mask itself is stylized after a Raven frontlet I made for my daughter Ganao (angle of the beak, used of abalone and copper). The sun is actually an original ancestor of the Sisantte clan, one of the five clans that make up my grandfather’s (Dan Cranmer) ‘Namgis tribe. These original ancestors transformed to human form, and became the first people of our tribes, passing down songs, dances, crests, histories to their descendants who live on today. So essentially this mask represents two family histories and origins in which I proudly share. Gilakasla T’sukt’sa’esagameKevin Daniel Cranmer
Bronze Cast, Edition of 12, Marble base
Volcano Woman is perhaps one of the oldest and most revered legends which tells of a mortal”s fate if he/she does not treat sacred objects or creatures with respect. In defense of her beloved wild creatures, she controls the powerful volcanoes. Stories tell of how the killing of a frog leads the Volcano woman to destroy an entire village.
Volcano Woman is a supernatural, powerful person in First Nations mythology. She had a son who, like his mother, had supernatural abilities. He often liked to change from his Human form to that of a Frog (Wukus).
Years ago, a Prince and his two friends went fishing. Hungry, they lay their food on leaves. The Wukus (Frog), being mischievous, jumped on their food. Twice the young Prince threw the Frog into the shrubs but on the third time they threw the frog into the fire and killed the innocent creature.
A few nights later, a woman could be heard crying and wailing. “Who has done this, come forward and I will spare your village.” This warning went unheeded for some time until finally a Woman of the Elders went to the village outskirts to see her. Volcano Woman instructed the Woman of the Elders to send forth the three young men and she would spare the village from volcanic destruction. The Woman of the Elders begging for the sake of the Village told of Volcano Woman”s ultimatum – but this warning went unheeded.
On the final night of the village”s existence, Volcano Woman was heard saying, “I asked for those responsible to take heed and now you will know my vengeance.” The Village shook, a Volcano erupted, destroying the village and all who lived there.