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Serigraph, Edition of 100
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- Additional Information
- Artist Bio
Serigraph, Edition of 100
|15.5 x 15.5 x 1.25" (39.37 x 39.37 x 3.18cm)
|Coast Salish Nation
Coast Salish Nation
Born in Victoria, in 1986, Qwul’thilum (Dylan Thomas) is a Coast Salish artist from the Lyackson First Nation.
Dylan was exposed to the art at a young age because his family continues to participate in their culture and tradition. He has done some training in jewelry with Seletze (Delmar Johnie) and is currently apprenticing under Randy Cook in all mediums of the art. Randy has also been a major help in the development of Dylan’s design.
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Serigraph, Artist Proof, Edition of V
(For inquiries on custom framing, please contact the gallery)
Why an Artist Proof?
The artist proof is often the first proof or set of proofs that the artist “pulls” to ensure that the image is printing to the desired effect. The Artist Proof holds a higher value than a regular edition piece due to its rarity as well as the possibility that they can contain the visual evidence of the artist’s progress. Artist Proofs are typically owned and kept by the artist so they are rarely released.
Other works by this artist
Serigraph, Edition of 140
(For inquiries in Custom Framing, please contact the gallery)
“This print, titled Weavers and Wool, depicts two Salish Wool Dogs, and is an homage to the role weavers and dog breeders played in shaping Coast Salish culture. The Salish Wool Dog was the only breed of dog in pre-contact North America that was created and maintained through the practice of animal husbandry.
Through selective breeding, the Coast Salish people maintained a large population of small dogs with thick woolly hair that could be sheered and spun into yarn. This meant, unlike their coastal neighbors, the Coast Salish had a steady supply of wool that allowed them to foster a prolific weaving tradition. Female weavers used the wool to create the classic Coast Salish blankets that were worn by Siem (noble ones). The wool was also an important adornment on many ceremonial objects and regalia. Due to the importance of weaving in Salish culture, the spindle whorls became an object of abundance, many of which were carved with classic Coast Salish imagery. Even today, contemporary Salish artist create prints, panels, glass works, stone works, (etc.) all in the form of the spindle whorl.
The practice of breeding wool dogs had been practiced for at least 1700 years according to archeological research. Since the dog’s woolly coat was due to a recessive gene, it had required a tremendous amount of work to keep the wool dogs separated from the semi-wild hunting dogs to keep the bloodline pure. So, when Europeans introduced sheep wool to the Salish, the practice of dog breeding was doomed. Since sheep are large, grass-feeding farm-animals — rather than small, meat-eating pets, they were able to generate more wool for far less labour and resources. Therefore, it became too costly to maintain the wool-dogs bloodline, so they began interbreeding with the hunting dogs and European breeds — then quickly vanished.
Even though the Salish wool dog may be lost forever, it’s legacy lives on in Salish culture: wool still adorns most ceremonial objects, Salish blankets are still worn as regalia, and the spindle whorl has become an icon of Coast Salish art. So with this print, I want to honour the Salish wool dog, Salish dog-breeders, and Salish weavers that helped give Coast Salish culture its unique identity.” – Dylan Thomas