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Sterling Silver, Gold, Engraved, Oxidized
Only 1 available
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- Additional Information
- Artist Bio
Sterling Silver, Gold, Engraved, Oxidized
4 x 3 x 3″
|Dimensions||4 x 3 x 3"|
David Neel has been creating art in the Kwakwaka’wakw style for over twenty years. His paintings, printmaking, carvings, and jewelry are all informed by his heritage, which includes several successful artists: Dave Neel Sr., his father; Ellen Neel, his grandmother; Mungo Martin, his great-great uncle; and Charlie James, his great-great-great grandfather. While many of his pieces are more contemporary in their material and design, Neel learned carving in the traditional style by his family and peers in his father’s village.
While Neel portrays meaningful stories and traditional values in all of his pieces, he says he finds jewelry the most impactful art form. He appreciates the fact that clients attach their own meaning to his jewelry and that it is used to mark important, personal events in people’s lives.
Neel has exhibited his work in many public institutions, including solo exhibitions at: the National Portrait Gallery of Canada; The Smithsonian Institution – NMAI; the Venice Biennale, and his work is represented in numerous public collections. His children are following in family legacy; studying art at the Emily Carr University and working with their father.
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The carving of flutes of the Northwest Coast extends back historically through time. The dramatic importance of the flute was indicated by the variety of specialized whistles, each of which was produced to make specific tones. Songs and dances were part fo all ceremony and ritual, a fundamental element of the inherited privilege. Equally important were the many whistles and other musical instruments that were specifically designated for most dances. Wooden whistles of one, two or three shafts, each with several holes and reeds produced a strong and clear note. Flutes and whistles were traditionally blown in the woods to introduce the cermonial season. Every instrument was the object of time, skill and concern and was considered by those who owned it as a necessary part of the family’s collection
Bronze Cast, Marble base
Edition of 12
9.5 x 8 x 5″
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.