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Sterling silver, Textured, Engraved
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- Additional Information
- Artist Bio
Sterling silver, Textured, Engraved
|Dimensions||0.75 x 6.25" (1.91 x 15.88cm)|
|Nation||Kwakwaka'wakw / Tlingit Nations|
Kwakwaka’wakw / Tlingit Nations
Corrine Hunt is a member of the Raven Gwa’wina clan from Ts’akis, a Komoyue village on Vancouver Island. Her rich family history includes internationally renowned First Nations artists George Hunt, Henry Hunt, Richard Hunt and Tony Hunt, all of whom have been influential on her art. Uncle Norman Brotchie was also a significant teacher and mentor, introducing Corrine to Kwakwaka’wakw traditions and the art of jewelry-making.
Born in Alert Bay in 1959, Corrine’s paternal grandmother A’neesla’ga,’ a Tlingit noblewoman from Alaska, gave her the name ‘Killer Whale Scratching Her Back on the Beach’ in 1965. Since 1985 she has been creating contemporary art that reflects the themes and traditions of her First Nations Komoyue and Tlingit heritage.
Corrine’s work includes engraved gold and silver jewelry and accessories, sculptural installations such as totem poles, and custom furnishings in carved stainless steel and reclaimed wood, executed in a distinctively contemporary style all of her own. Working with the concept of living culture, Corrine is creating fine art objects that are both aesthetically pleasing and of practical use. She is interested in exploring unique ways to translate the traditions of her First Nations culture; “I want to show how both the First Nations people and the art have evolved,” she explains.
Corrine designed the logo for the World Peace Forum held in Vancouver, 2006. There were installations of her work at the Hilton Hotel, Whistler, and the Office for Indian and Northern Affairs Canada.
In 2009, she was a co-creator of the medals for the 2010 Olympic Games held in Vancouver. These featured her original designs of the Pacific Northwest Coast crest figures of the Killerwhale and Raven. Corrine’s artistic endeavours were recognized with the National Aboriginal Achievement Award in 2011. As well as her prolific art practice, Corrine is focused on mentoring First Nations artists and other creative practitioners in this present day, and continues to be a forceful supporter of the creative arts in British Columbia.
2021 | Kapiguxw’id: Iklegans dudakwo | Gathering: It’s good to see you [again].
September 25 to October 29, 2021
As a contemporary Indigenous designer, Corrine Hunt presents an inspired collection of artistic visions and experiences arising from her travels far away and her hub at home in this multi-media exhibition. Read more details here.
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Bone ash, graphite and aluminum composite
Limited edition of 9
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In this panel design Corrine Hunt has propelled her use of the medium in such a way that she invites a ‘contemporary’ perception of form. The panel is made from a composite of bone ash, graphite, and aluminum; the organic black colour coming from the ash. The panel itself has been cut from a technically controlled machine, and then has been hand-finished and polished to a luminous sheen.
Corrine’s concept for the panel is based upon the physical depiction of air meeting water; a drop of water which creates a swirl as the air affects its surface. The whorl-shape created by this abstract notion has produced the forms of an Eagle, on the upper left side of the panel, and an Orca; it’s body elusively curving around the right side of the panel. Corrine has continued to play with the whirlpool concept by introducing echoing shapes and forms that reflect across the surface of the panel and invite the viewer to explore the “water’s” surface.
In First Nations art and culture, the Eagle is seen as the symbol of status, power, peace, and friendship, whilst the Killerwhale is revered for its powerful hunting ability and is considered to be the sea manifestation of the Wolf. Both in legend and in the wild, the Killerwhale guards its family for a lifetime. Again, the artist is working around the model of “Air meeting Water”, both visually and in her choice of crest figures.
The artist’s intention in her design is to mesmerize the viewer; she combines traditional formlines of the Northwest Coast with the interpretive concepts of post modernism, allowing the eye to move seamlessly and always see something new.