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Alder wood, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Alder wood, Acrylic paint
|Dimensions||10 x 7 x 6"|
|Nation||Nuu-chah-nulth (Tla-o-qui-aht First Nation)|
Joe David was born in the small Clayoquot village of Opitsat on the west coast of Vancouver Island, considered the territory of the Nuu-chah-nulth people. Although much of his childhood was spent in Seattle, he maintained a positive connection with his cultural heritage through his late father, Hyacinth David.
In the late 1960s, after attending art school and working as a commercial artist, David turned his attention to First Nation’s art. Following this personal decision, he met Duane Pasco, a recognized student and teacher of Northwest Coast art, and Bill Holm, the well-known Northwest Coast scholar. David began attending Holm’s classes at the University of Washington, and between 1971 and 1973 was apprenticed to Pasco. Both Pasco and Holm stimulated David to explore the style of a number of Northwest Coast traditions.
This varied background of experience has allowed David to independently, and in concert with his cousin, Ron Hamilton, rediscover and redefine not only his own Nuu-chah-nulth tradition of sculpture and design, but to also understand other variations in form distinct to other regions along British Columbia’s coastline.
Today, Joe is not only an accredited master carver, but he has been in pursuit of lecturing within North America and abroad. His artwork can be found in many private and public collections worldwide.
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Red Cedar wood, Acrylic paint
Nuu Chah Nulth carver Tom Paul has carved his Winter Moon mask from red cedar wood and finished the piece with light washes of green accented with stamped arrangements of white snowflakes and evergreens. Slightly abstract, this work reflects the ongoing theme of the Nuu Chah Nulth’s thirteen moons, while experimenting with new ways of designing and configuring forms. The moon told of the arrival of food sources such as the salmon’s return and the quantities of certain crops. Culturally, each moon was characterized by images that represented that particular time of year – such are the swirling wind motifs and somber colors in this mask. The small figure on the right-hand side of the central moon face depicts the wind that brings the great flood waters. Each winter these waters wash the earth and prepare for a new beginning.
Bronze Cast, Marble base
Edition of 12
9.5 x 8 x 5″
Volcano Woman is perhaps one of the oldest and most revered legends which tells of a mortal”s fate if he/she does not treat sacred objects or creatures with respect. In defense of her beloved wild creatures, she controls the powerful volcanoes. Stories tell of how the killing of a frog leads the Volcano woman to destroy an entire village.
Volcano Woman is a supernatural, powerful person in First Nations mythology. She had a son who, like his mother, had supernatural abilities. He often liked to change from his Human form to that of a Frog (Wukus).
Years ago, a Prince and his two friends went fishing. Hungry, they lay their food on leaves. The Wukus (Frog), being mischievous, jumped on their food. Twice the young Prince threw the Frog into the shrubs but on the third time they threw the frog into the fire and killed the innocent creature.
A few nights later, a woman could be heard crying and wailing. “Who has done this, come forward and I will spare your village.” This warning went unheeded for some time until finally a Woman of the Elders went to the village outskirts to see her. Volcano Woman instructed the Woman of the Elders to send forth the three young men and she would spare the village from volcanic destruction. The Woman of the Elders begging for the sake of the Village told of Volcano Woman”s ultimatum – but this warning went unheeded.
On the final night of the village’s existence, Volcano Woman was heard saying, “I asked for those responsible to take heed and now you will know my vengeance.” The Village shook, a Volcano erupted, destroying the village and all who lived there.