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Red and Yellow Cedar wood, Abalone shell, Acrylic paint
Only 1 available
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- Additional Information
- Artist Bio
Red and Yellow Cedar wood, Abalone shell, Acrylic paint
|Dimensions||15 x 13 x 7.5"|
|Artist||Kevin Daniel Cranmer|
Kwakwaka’wakw artist Kevin Cranmer was born in Alert Bay, British Columbia, but has lived all but four years of his life in Victoria. His father is from the ‘Namgis Nation and his mother is from the Mamlilikala Nation, two of the many Nations of the Kwakwaka’wakw people. Cranmer’s work often speaks to his diverse coastal background, as he can trace his ancestry to the many Nations of Kwakwaka’wakw people as well as the Tlingit of Alaska.
His formal instruction came under the tutelage of his cousin, George Hunt Jr. He later worked with artists Tony Hunt Sr., Tony Hunt Jr., and Calvin Hunt. Kevin’s introduction to larger monumental sculpture began when he first started to work alongside renowned Nuu-Chah-Nulth artist, Tim Paul in Thunderbird Park at the Royal British Columbia Museum. Thus, his large-scale works include several large co-operative projects: a 40 foot pole which stands in Stanley Park, Vancouver; a 36 foot pole carved for the closing ceremonies at the 1990 Commonwealth Games in Auckland, New Zealand and an elaborately carved and painted Chief’s seat for the newly rebuilt Big House in Alert Bay.
Kevin Cranmer is an active participant in the continuation of his cultural heritage through the arts. He is a respected member of his community and is an intiated Hamatsa member, one of the most sacred of the complex and secret dance socities of the Kwakwaka’wakw. His artistic works not only display unique Kwakwaka’wakw traditions but also preserve those traditions for future generations. Kevin Cranmer continues to create pieces for family and for use in ceremony.
2012 Cranmer + Gray, Duel Artist Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2007 Coastal Legacy, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2006 Transcendance – A Decade In Perspective, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2005 Where the Spirits Gather, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
2005 Totems to Turqoise: Native North American Jewelry Arts of the Northwest and Southwest, Group Exhibition at American Museum of Natural History. New York, USA.
2004 Box of Treasures, Group Exhibition at Coastal Peoples Fine Arts Gallery. Vancouver, BC.
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Red Cedar wood, Yellow Cedar wood, Abalone shell, Acrylic paint, Leather
The carving of flutes of the Northwest Coast extends back historically through time. The dramatic importance of the flute was indicated by the variety of specialized whistles, each of which was produced to make specific tones. Songs and dances were part fo all ceremony and ritual, a fundamental element of the inherited privilege. Equally important were the many whistles and other musical instruments that were specifically designated for most dances. Wooden whistles of one, two or three shafts, each with several holes and reeds produced a strong and clear note. Flutes and whistles were traditionally blown in the woods to introduce the cermonial season. Every instrument was the object of time, skill and concern and was considered by those who owned it as a necessary part of the family’s collection
Price upon request
Cattle Bone, Abalone shell, Cedar bark
Bentwood Box: Red Cedar wood
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: 1.25 x 7.75 x 1.25″
Including Stand: 4.75 x 7.75 x 1.5″
Bentwood Box: 4.75 x 10 x 6.25″
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.