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Marine Ivory, Abalone shell
Price available on request
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- Additional Information
- Artist Bio
Marine Ivory, Abalone shell
|Dimensions||1.25 x 3 x 1"|
Born in 1955, Lyle Wilson is a Haisla artist from Kitamaat Village, which is near the town site of Kitimat, British Columbia, Canada. The Haisla Nation is often referred to as Northern Kwakwaka’wakw; however, their historic artistic style has influences from various sources – notably Kwakwaka’wakw and Tsimshian, as well as developing distinctive qualities of their own. The name Kitamaat means, “People of the Snow” and refers to the large amount of snow received by this region. Tsimshian people visiting the Haisla people in mid-winter arrived to see people emerging from big houses completely buried by the snow so the name Kitamaat seemed an appropriate description.
The Haisla Clan system is matrilineal and although he was born into the Beaver Clan, Lyle was formally adopted into his father’s Eagle Clan. Due to the high death rates at this time, his Eagle grandmother formally adopted both Lyle and his sister to help ensure the continuation of the Eagle Clan. This was a small but important event, which helped shape Lyle’s view of Haisla culture.
Lyle was always conscious and appreciative of Haisla art, which was present in his formative years. In this regard, his first artistic influence was his uncle, Sam Robinson, who is a full-time carver. Fascinated, Lyle watched him and occasionally whittled to the best of this abilities. He did not pursue art as a possible profession until he attended the University of British Columbia. At this time, he committed to a career in art education, but found time spent in the studio more compelling – eventually leaving to pursue his own artistic interests at the Emily Carr College of Art and Design. He graduated with a diploma in printmaking and began to develop his individual style. This artistic style has its roots in graphics, but also envelopes his three-dimensional works in wood and jewelry.
Today, a renowned artist, Lyle works closely with University of British Columbia’s Museum of Anthropology where he has further pursued his interest in replicating historic Haisla art for future generations to understand and visualize. Lyle has been involved with many important private and public commissions that have aided in the awareness of Haisla art.
Additionally, he has been involved in a number of group and solo exhibitions since 1981 both locally and abroad. Some of his public commissions can be viewed at the Museum of Anthropology, BC Sports Hall of Fame, Canadian Consulate in Osaka, Japan, Canadian Institute for the Blind, EXPO 1992 and at the UBC First Nations House of Learning.
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22K Yellow Gold, Platinum, Abalone shell, Cast, Engraved
Includes Skil Hat Stand; Yew wood, Brass
Edition 1 of 3
5.25″ x 2.75″ x 2.75″ (including stand)
Price upon request
This piece opens to reveal an inner box with relief engraving that echos the outer lid.
Traditionally, boxes were considered prized possessions and customarily used to store wealth or special ceremonial objects such as masks, rattles, clothing and adornments. People often gave names to these beautiful ornate boxes, told stories about their histories and treated them as family heirlooms. However, non-decorated boxes acted as instruments of life – from storing less precious articles, to food and later used for mortuary purposes. In Haida mythology, a stack of boxes contained the essence from which Raven created the world.
Eagle, Dogfish, Beaver and Frog Box retains its traditional elements through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline of this treasure. The gently angled lid with Abalone inlay, as well as the engraved and incised elements on the box is suggestive of the prototypic bent cornered wooden boxes and chests.
The box contains not only depictions of four important crest animals, but connects to past traditions in which a box held more than the material object, it also linked people to their heritage, lineage and each other.
Price upon request
Argillite, Abalone shell, Mother of Pearl, Catlanite
This ornately detailed panel pipe inlayed with catlanite, abalone shell and mother of pearl tells the ancient story of Nanasimgit.
The man or Nanasimgit is depicted at the bottom of the pipe holding skils to represent his stature. It shows the numerous potlatches he has held. The following story is a shortened version as told by the artist, Christian White:
One day, the man’s wife was washing sea otter skins near the ocean, when a Killerwhale arose from the surface. It coaxed her into the water and carried her seaward while her husband watched in disbelief. Without hesitation, he quickly decided to follow them until the Killerwhale dove near a two-headed kelp, which prevented him from going any further. He was feeling quite distraught as he returned back to the village but by then he had decided to seek the help of his uncle, the Frog.
The Frog offered him advice on how he could get his wife back and suggested that he take specific objects with him for his journey. He brought spruce root twine, a gimlet and medicine, placing them in his canoe. But, before he embarked on his journey, he was urged to undergo a fast in order to cleanse his body, which involved various rituals.
Once the fast was completed, the man embarked on his quest until he came across the kelp he had encountered before. He tied his canoe to the kelp along with his possessions and climbed down beneath the surface to find himself in another world. He followed a path where he encountered three blind women that resembled Geese. He used his medicine to cure two of the women while the third one chose not to accept the medicine. The cured women vowed to repay him for his deed. As he proceeded onward, the man came across two slaves, from the Killerwhale clan, chopping wood. As they proceeded to chop the wood, the head of their axe fell off and they began to cry knowing the consequences they would face from the Chief. The man stopped to assist them and in return they directed him to his wife’s dwelling. The slaves warned the man of the watchmen pole that stood in front of the longhouse protecting the inhabitants. The watchmen had the ability to scent out and watch out for intruders.
While he proceeded further on his path and thought about how to divert the watchmen, the man encountered a Heron repairing a canoe without success. The man stopped to offer him his gimlet to successfully repair the canoe. In return for his generosity, the Heron helped conceal the man under his wing blanket from the Black Whale guards and the watchmen. He successfully entered the longhouse to happily find his wife. At this point, the watchmen discovered the man taking his wife back with him, but were unable to stop him.
When the man arrived back with his wife to his village he felt a different connection with her, as though she was not herself. At night, he would keep her in a bentwood box, but one morning when he awoke, to his surprise she escaped. She left to be with her Killerwhale family and fully transformed into a Killerwhale. This was the last he saw of her.
Other works by this artist
Sterling silver, Engraved, Textured
“This group of pendants, brooches and earrings were inspired by an earlier painting of mine entitled ABC’s: Reconstituted, 2011. The subject matter is the English alphabet rendered in the Pacific Northwest Coast (PNC) formline style. It is my recognition that educational ideals are steadily becoming incorporated into the fabric of PNC people’s lives. That’s a good thing, and these jewelry pieces are my little way of recognizing the importance of continuing modern educational ideals.”
– Lyle Wilson, 2016
Sterling silver, Abalone shell, Cast, Engraved, Textured
Edition of 9
“The story of ‘Raven Releasing the Light’ has several versions depending upon the teller and the Pacific Northwest Coast group. In some versions the sun is featured while in others the moon or stars are included. My Haisla grandmother told us a version where the moon was the central character. Therefore, in this limited edition I decided to portray a moon to honour the memory of her telling the story to my sisters, brother and cousins when we were just very young children. Having seen the full moon on numerous occasions, I’ve come to portray the moon’s corona as a series of concentric rings to indicate a softer, gentler, radiating light.”
-Lyle Wilson, 2016