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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.
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.
Nuu Chah Nulth carver Tom Paul has carved his Winter Moon mask from red cedar wood and finished the piece with light washes of green accented with stamped arrangements of white snowflakes and evergreens. Slightly abstract, this work reflects the ongoing theme of the Nuu Chah Nulth’s thirteen moons, while experimenting with new ways of designing and configuring forms. The moon told of the arrival of food sources such as the salmon’s return and the quantities of certain crops. Culturally, each moon was characterized by images that represented that particular time of year – such are the swirling wind motifs and somber colors in this mask. The small figure on the right-hand side of the central moon face depicts the wind that brings the great flood waters. Each winter these waters wash the earth and prepare for a new beginning.