“The Swimmers” Pin/Pendant
Availability: Only 1 available
18K White Gold, Abalone shell, Cast, Engraved, Textured
Edition 13/14
2001
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CA$4,000.00
Only 1 available
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- Description
- Additional Information
- Artist Bio
18K White Gold, Abalone shell, Cast, Engraved, Textured
Edition 13/14
2001
Dimensions | 1.5 x 1.5" (3.81 x 3.81cm) |
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Product Number | S-10346 |
Exhibition Code | LW16 |
Artist | Lyle Wilson |
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Nation | Haisla Nation |
Description | Haisla Nation 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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Other works by this artist
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ABC’s Reconstituted Panel
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CA$40,000.00Red Cedar wood, Acrylic paint
Early in my career there were just a few experienced Pacific Northwest Coast (PNC) artists and they often used the metaphor of the western alphabet — advising young PNC artists to learn the ABC’s of PNC two-dimensional art: the Ovoid, U-shape and connective Formline.
NUGWA (I/me) decided to make that advice into a “visual reality” by using classic Ovoids, U-shapes and Formlines, to make strange animals that contort themselves into the shapes of the western alphabet and numbers.
So in 1984 NUGWA “made” an early version — a limited-edition of 50 serigraphs of the PNC alphabet and numbers. However during the printing process the entire edition was damaged. Although NUGWA managed to salvage one print, the rest were cut up to make a few small gift and business cards.
Many years later, in 2011, NUGWA decided to paint a version of the my PNC ABC’s and that how “ABC’s RECONSTITUTED” came about — it’s a blend of tradition and modern “advice”.
Lyle Wilson, 2024
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Ge’lwa (Canoe) Bowl
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SOLDYew wood
Not many people had the knowledge and skills to make a AIX (good) GELWA (canoe) and in the olden days the GELWA was basically the sole means for transportation, hunting and food-gathering. So a CHEH-SEE-LA-NEEUCH (canoe builder) was an extremely important because of his knowledge in cutting down a large tree, carving and hollowing it into its semi-final shape, and finally steaming the GELWA wider into its finished shape.
A AIX GELWA has compound flares, concavities, and convexities — inside and out. The sides flare up, ending in a smaller flare at the gunnels. The outside of the hull is a convex shape that transforms into a series of concavities to form the stern and bow — in addition the bow has a cut-water flange. All these forms are seamlessly, and aesthetically, integrated in a manner subtle enough not to undermine a GELWA’s ultimate function of cutting through, controlling and deflecting the element of water.
The GELWA ranged in size from small to large. The smaller sizes were used for 1 or 2 people travelling in local waters, while the larger ones were used for longer trips — such as visiting neighbouring villages or on the open ocean.
There were different types of GELWA: ‘LEE-WA-JEE (hunting canoe), WA-WA-‘SEELA-JEE (river canoe), DAH-GWAN (very large canoe used for the open ocean), THLA-LA-KA-PA-JEE (racing canoe), KEE-KA-JA-NAUCH (spoon canoe), and CHAH-JEE (model canoe).
Although there are no full-size examples remaining (only old models), apparently in pre-contact times the GELWA was originally made with its ends shaped differently: longer stern and the bow was basically a large, thin, vertical and flat area — some call this type of early GELWA a “Head canoe” or “Long-Tail” canoe. It is thought that this large, flat, bow-area made this type of GELWA difficult to control in strong winds and tidal currents. So, over time, the GELWA’s shape was refined by cutting away some of the bow and stern to form the classic Pacific Northwest Coast northern-style GELWA that we are familiar with today.
NUGWA (I/me) was always fascinated with the GELWA and this GLUMC (yew wood) bowl is basically a CHAH-JEE of a pre-contact GELWA. The shape lends itself to a PNC formline image — in this case a marine creature. In addition NUGWA carved water being parted to form the GELWA’s wake; implying the CHAH-JEE is moving forward, cutting through the water. This detail comes from my reminiscing of earlier times at C’IMOTSA (KITAMAAT) where NUGWA had the privilege of paddling some GELWA (also used an outboard motor on the “modern” GELWA while fishing and hunting), as well as during my later years when NUGWA was invited to paddle around Vancouver’s False Creek in a newly-made HAIDA GELWA.
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Orca Soapberry Spoon
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NUGWA (I/me) consider GLUMC (Yew wood) a special, and relatively rare wood, NUGWA kept many off-cuts and other scrap pieces — it’s recognizing our overall need to conserve natural resources. So NUGWA resolved to use, as much as possible, even small pieces of GLUMC so the original tree wasn’t wasted. This piece was an off-cut from a larger GLUMC carving (the growth rings indicated the original tree was approximately 350 yrs old.). The long, skinny “scrap-wood” became a USS (soapberry) KA-JA-NAUCH (spoon).
USS is a traditional dessert made from a berry that is beaten into a pinkish, foamy (hence the translation to “soapberry”) dessert and a paddle-like KA-JA-NAUCH was used to eat it. USS was considered a true delicacy in the olden days and served on special occasions like potlatches and feasts — it’s still traded and eaten today.
Normally most Pacific Northwest Coast carvers don’t use GLUMC because it’s a very tough, wild-grained, and relatively rare wood; as well it usually has many knots and other “flaws”. Such characteristic ensured that even in the olden days, it wasn’t used as extensively as other woods.
However, given that the goal was to use even scrap pieces of GLUMC, and USS being special foods, NUGWA combined these factors with jewelry techniques and carved this USS KA-JA-NAUCH.
This USS KA-JA-NAUCH is carved with the clan crest of the HULL-CHEY-NAUCH (orca) swimming in the AH-AH-WAUCH (sea/ocean).
Lyle Wilson 2024
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