Availability: Only 1 available
Yellow Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Yellow Cedar wood, Acrylic paint
|Dimensions||61.25 x 7.75 x 1.5"|
Raven Pearson LeBlanc was born in Vancouver, B.C in 1991 but has spent most of her life living on Haida Gwaii. She is of Haida descent from her mother’s side and is of the Naa S’aagaas Xaaydagaay Eagle clan. Spending most her childhood in Skidegate, Raven grew up with the beautiful environment surrounding her home which inspired her growing imagination.
At an early age she began drawing animals inspired by animations such as Disney, Don Bluth, and various Japanese animation companies. Her beginnings in Haida Art first took root at the age of 13, when she was asked to participate in a Haida dance blanket project lead by Yolanda Skelton. During the summer break Raven created two Haida blankets, one for the Skidegate youth dance group and the other for her. In 2006 Raven and her family moved to Fort St. John and she enrolled in North Peace Secondary. During her time there she took classes in computer animation, art foundations, painting, and musical theater. She graduated in 2009 and moved back to Haida Gwaii to start an apprenticeship with her uncle and Haida carver, Robin Rorick. He taught her the basic principles of Haida design and painting skills and helped her complete 3 Haida drums.
After her time with Robin, Raven began to work with Ben Davidson, the son of renowned master carver, Robert Davidson. Under the teaching of Ben her art form was taken to the next level, with more complex and intricate designs. In 2012 Raven made the choice to enroll into Emily Carr University of Art + Design to pursue a Bachelor Degree in Fine Arts. After completing two years she decided to put her studies on hold to go back to a traditional art form and learn carving at the Freda Diesing School of Northwest Coast Art.
Raven currently resides in Terrace and has begun her first year of the First Nation Fine Arts Program and is eager to start a new journey in her artistic practice. During her summer break from her studies she returns back to Haida Gwaii and works at the Haida Heritage Centre and Haida Gwaii Museum. In the past two years she has had the positions of cultural interpreter and collections assistant and enjoys educating the public about Haida traditions and stories. She is also part of the Haida Dance Group, Hltaaxuulang Guud Ad K’aaju, which translates to “Friends Singing Together”. After many years Raven still enjoys cartooning in her free time and hopes to one day merge her love for illustration and her passion for Haida art.
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Spoons and ladles were traditionally made from either cedar wood or the horn of a mountain sheep, and their handles were carved with family crest images. Historically, these exquisitely sculptured objects were primarily created by people in Northern Nations, and were highly sought after by other nations. During potlatches [festive gatherings], cedar ladles decorated with the hosting family’s crests were used to serve food, while the elaborately carved mountain sheep spoons were distributed as gifts among the many guests.
Today, spoon and ladle productions are based on these traditional objects and are meant to be both objects of function and display. In addition to traditional mediums such as cedar wood, goat or mountain sheep horn, many modern-day spoons and ladles are constructed of gold, silver and pewter.
Price upon request
Bone, Abalone shell, Cedar bark, Woven Leather cord
Commonly used by a Shaman, soul catchers were used to cleanse human souls and spirits. If a person was sick, or perhaps possessed by a demon spirit, the soul catcher was used to coerce the evil spirit out of the body. The open ends were caped with cedar bark to hold the soul until it was cleansed and brought back from the spirit world. The healed soul of the recipient was then returned to the body by the Shaman by blowing through the soul catcher and into to the patient’s mouth.
The shape of the soul catcher is typically cut from animal bone in such a way that the ends are flared outward and the surface is carved with figures associated with the Shaman’s spirit guides. Spirit guides accompany the human spirit or soul on its transformative journey between worlds. The ends of the Soul Catcher were sealed to contain these spirits. They also protect the boundaries between the physical and spiritual world, keeping those involved in the healing ceremony safe from evil minded spirits and beings. The symmetrical arrangement of the figures essentially defines objects of this type and the figures tend to more sculptural in appearance.
Soul catchers are extremely powerful and respected healing instruments; because of this, they were often housed in special bentwood boxes to keep them safe.
Soul Catcher: 1.5 x 9.25 x 1.5″
Including Stand: 2.75 x 9.25 x 3″
Birch wood, Abalone, Ivory
For more details on shipping Ivory outside of Canada, please click here and then click open the Shipping section and scroll down to read more on Shipping Restrictions.
A frontlet is a forehead mask attached to a woven headpiece. It is worn by chiefs and high-ranking individuals as a display of crests and status. Frontlets are often decorated with materials that are symbols of wealth and power: abalone shell, operculum shell, sea lion whiskers, feathers and/or ermine pelts.
The intelligent Eagle symbolizes status, power, peace and friendship.
Sterling Silver; Repousse, Engraved
Derek White’s extraordinary Beaver & Eagle Fish Bowl, created in the traditional Haida form and utilizing the ancient technique of repousse to add dimension, demonstrates his articulate master carving and artistry skills. Containers such as bowls were traditionally created out of Cedar or Alder wood and utilized in daily life. The chosen medium of silver serves as a contemporary progression of this ancient art form while illustrating the intricate foundational links which combine cultural heritage with the arts.