Availability: Only 1 available
Red Cedar wood
Price available on request
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- Additional Information
- Artist Bio
Red Cedar wood
|Dimensions||40.5 x 40.5 x 3"|
|Nation||Coast Salish (Musqueam) Nation|
Coast Salish (Musqueam) Nation
Brent Sparrow is an established Coast Salish artist, and was born in 1970 on the Musqueam First Nation in Vancouver, British Columbia.
For a few years beginning in 2006, Brent apprenticed and carved alongside his mother Susan A. Point as well as master carver John Livingston. In 2012, he had only been carving for 5 and a half years.
He worked with his mother on the creation and installation of several major public art pieces, including pieces for the Seattle Art Museum, the City of Vancouver, the City of Richmond, the Seattle Children’s Hospital, Stanley Park Gateways, the Vancouver Convention Centre, YVR Skytrain Station and created a commissioned art work for CBC (5 carved painted panels).
Some of his own projects include a stainless steel and glass whorl installation entitled “Bright Futures”, which was commissioned by the Vancouver 2010 Aboriginal Art Program and is permanently displayed in front of the Killarney Community Centre. He designed a Museum post for the Vancouver 2010 Olympics opening ceremony. In 2011/2012, he was commissioned to create a 41-foot house post for outside University of British Columbia’s Allard’s Hall.
Brent has years of experience as a welder. He has his provincial “B” Red Seal as well as his first year Steel Fabrication which were both completed at BCIT. This background has helped him and his family with the instillation of major artworks and projects, and will continue to influence his future work.
His awareness and knowledge of Coast Salish Art culture and traditional interests began with his mother. As an established Coast Salish artist, Susan A. Point helped to create an inspirational learning experience that surrounds Brent every day. This upbringing will be apart of his life and his art for years to come.
Brent creates art to explore and expand the possibilities of his heritage and Coast Salish style, paying tribute to his Salish legacy. Using his heritage as a base, Brent has created several original designs in his own unique style and, as a young Salish artist, he is committed to contributing to his culture.
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Yellow Cedar wood, Acrylic paint
“People of the Eagle” Frontlet, masterfully carved and painted by Kwakwaka’wakw artist Barry Scow, represents the Chief and his people of the Eagle clan. True to form of Barry’s fine carving, this frontlet portrays the Eagle with Sun, and commemorates Barry’s link to his Grandfather, who was a Chief, and to his heritage.
A Frontlet is a forehead mask attached to a woven headpiece, worn only by Chiefs and high-ranking individuals in order to display status. This particular frontlet carries the Eagle and Sun motif. The Eagle position belonged to the highest-ranking Chief in the village.
The Eagle lives in the sky, or Upper World, and represents status, power, peace and friendship. Eagle is the Chief of the birds, an honor he shares with the Woodpecker. The Sun is a popular Kwakwaka’wakw motif, used quite regularly in their art. The sun can represent life and creative forces as well as warmth and healing.
To further establish his high position, the Chief practiced a traditional act of discarding his wealth in front of other Chiefs. Much of this wealth was in the form of copper. To break the copper or throw it into the ocean, symbolized that he and his clan were modest of their wealth and that the value of friendship weighed more than the value of material wealth.
To assist the Chief with this historical display of modesty, a subordinate was appointed. The assistant is portrayed below the beak of the Eagle, carved in intricate detail, as one can see in the teeth and tongue of the human face. Another beautiful component of this piece are the Chief’s people, delicately cradled in the beak of the Eagle.
Price upon request
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.
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Sterling Silver, Argillite, Abalone shell, Engraved
Although Derek White’s Beaver and Bear Box is constructed from the contemporary material of Sterling Silver combined with Argillite, this box retains its traditional values through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline on 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.