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Red Cedar wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red Cedar wood, Acrylic paint
|Dimensions||15.75 x 4.5 x 4.5"|
Shawn Karpes was born in Vancouver, B.C., on May 12th 1968. His training began in 1982 with George Hunt Jr., Jim Gilbert and Victor Newman during a Native art program sponsored by three levels of Victoria public schools. In this program Shawn began experimenting in three dimensional form and began concentrating on basic design, painting and woodcarving. During this time Shawn’s mother, Elisabeth Karpes (nee Alfred), was working at Arts of the Raven Gallery and introduced Shawn to many carvers. As Shawn has been raised in Whitehorse and lived there until 1977, the world of Northwest Coast carving was a new experience to him although one to which he was connected by birth.
This introduction developed into a study of his family as well as the culture and history of the Nimpkish and Kwakwaka’wakw. Through this study Shawn was able to meet and befriend many artists who in turn inspired his own work.
In 1987 Shawn Karpes began working at Raven Arts in Victoria with Tony Hunt Sr., Tony Hunt Jr., and John Livingston. During this period Shawn Karpes increased his skill in box design and mask carving techniques. To learn the art of silver and goldsmithing Shawn worked with Fah Ambers for two years. This was followed by an opportunity to work on canoes and various carving projects with renowned Kwakwaka’wakw artists Wayne Alfred and Beau Dick.
Shawn belongs to the Namgis (Nimpkish) band and descends from Alfred, Hunt, Scow and Inis families. In his work Shawn pursues both traditional designs and the natural world. He will often depict the supernatural world using a combination of the two.
For the past three years Shawn has been working for the carving program at the Royal British Columbia Museum. In 2001 he volunteered to work on the ITUSTO restoration of the world’s tallest totem pole at Beacon Hill Park in Victoria, B.C.
Some of Shawn’s commissions include a carved wooden paddle with a sun design for Glanford Elementary School, Victoria B.C, a whale welcome figure and door for Victoria Native Housing Commission, Victoria, B.C., a new totem pole for Thunderbird Park at the Royal British Columbia Museum carved with Shawn Whonnock and Johnathan Henderson, a talking stick with eagle and bear for the Denver Museum Public Programs, a whale panel for Sir James Douglas School in Victoria, B.C., and the restoration of the thunderbird at Naden Navy Base in Esquimalt, B.C. Shawn has carved various potlatch pieces for Alert Bay families. In 1990 special recognition was given to Shawn Karpes, Doug Cranmer, Stephen Bruce, Fah Ambers, Richard Sumner and Jason Baker for their contributions to the potlatch tradition.
1994-2001 Tribal Miniatures (annual miniatures exhibition), Alcheringa Gallery, BC
2001 Raven, Moon and Sun: Carvers of the Coast, Alcheringa Gallery, BC
1998 Killerwhale and Crocodile, Alcheringa Gallery, BC
1989 Hunt Family Show, Legacy Gallery, Seattle, Washington
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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.