|Cultural Background: Tahltan from West Vancouver, BC|
Alano is a Tahltan multimedia artist and entrepreneur based in West Vancouver, British Columbia. He has had numerous group shows and solo shows in Canada and abroad and is one of the key artists in the contemporary northwest coast art movement.Alano cemented the reputation of his growing company during the 2010 Olympic Winter Games when he designed the outerwear for the Dutch Olympic team.
He is the owner and director of Edzerza Gallery, Edzerza sports and Edzerza Artworks and has been running his own business since 2007. Recently, Edzerza Gallery has moved from the downtown Vancouver location to a fully operational online store and gallery, edzerzagallery.com. The Edzerza Artworks business plan and proposal has been set up since starting the gallery. Ongoing activities have included art production, sales, wholesale and as of late focusing on online retail sales.
Edzerza has taught and volunteered with the youth organizations KAYA (Knowledgeable Aboriginal Youth Association), the Freida Diesing School for Northwest Coast Native Art, and NYAC (Native Youth Arts Collective) as well as been a judge for the YVR Art Foundation Scholarship for young Native artists. In 2009 he was the recipient of the 2009 30 & Under Entrepreneur of the Year Award.
“My mandate as a young business owner is to not only to continue to succeed in running my own business, but to grow and be able to and show other artists native and non native alike that we all can create successful business from our talents.”
|Cultural Background: Haida from Prince Rupert, BC|
Alvin was born in Prince Rupert, British Columbia, Canada, in 1959. He is a self-taught artist who works in gold, silver, wood and argillite.
Alvin is a member of the Haida nation, a group who inhabits the Queen Charlotte Islands, also known as Haida Gwaii, located along the northern coast of the province.
Beginning his career as an artist in 1971, Alvin has been counseled by distinguished colleagues such as Dempsey Bob, Freda Diesing, Bill Reid, Robert Davidson and Don Yeomans. Alvin has established himself as a prominent artist whose style reflects intricacy, experience and quality. Currently he is putting most of his time toward carving jewelry pieces that are sought-after by many Northwest Coast Native art collectors.
Alvin is one of the many Haida artists who, through maintaining the traditional Haida carving style, is aiming to preserve his heritage for future generations.
|Born in Comox B.C in 1972 and name after his grandfather, Chief Andy Frank. His cultural interests lay with both Comox and Kwakwaka’s wakw ancestries and are expressed though dancing, singing, and even the pursuit of a master’s degree in anthropology. He feels that his artwork stands on par with these other accomplishment. Although he began drawing northwest coast art at an early age, his first serious attempt was not until 1990 when he started designing and painting chilkat-style blanket for use in potlatch dancing. From these early self taught lessons he has tried to follow in the footsteps of his Hunt relatives in creating bold and unique representation that remain rooted in the age old traditional of his ancestors|
|Makah Carver Alex McCarty, is a young caver with great respect for older carving traditions. His interest in Makah carving traditions and culture was triggered in high school, when he was asked to work on a model of the Ozette Village for the Makah Museum. Working on the project over a nine-month period, Alex had a chance to look deeply into the past. Part of his preparation for making the model was to visit the landforms at the site, and to become familiar with the collection of artifacts housed at the museum. It was Alex’s job to understand everything he could about everyday life at the village, and this helped to create his passion for history.Through carving, Alex seeks to preserve cultural traditions that he can trace back through time. By observing the pieces from Ozette, as well as other classic West Coast carvings, he discerns “prevalent form-lines,” which characterize the Makah tradition. He works hard at understanding the essence of his heritage, and sees his own work as a preservation and interpretation of this older style. Alex is driven to understand the past in his quest to develop his carving. He observes that “you need to get something before you can preserve it.”In his work, Alex strives to incorporate deep in-grain cuts and flowing, bold-line designs that he feels are so characteristic of classic West Coast carving. It is important to him that his carving is done well, and that his designs work from different perspectives. As a teacher, he makes the analogy that we need “to see things through multiple perspectives-the way that other people see things,” to gain a deeper understanding of the world.While Alex’s work is in demand, often commissioned by galleries or individual collectors, he sees carving as providing more in his life than just income. As a teacher, he is quick to point out that the activity of carving in a group can be an exchange of learning, “a social thing…a sharing thing.” He values teaching and learning from other carvers, and advises people to seek out learning opportunities such as the one he had at Ozette, which he sees as an under-utilized resource. Perhaps his approach to his carving tradition can be summarized in this way: “learn it with care, preserve it with beauty, and pass it on.”|
|Born in 1963, lives on the Capilino Reservation in Northern Vancouver B.C.|
Brad Joseph is a member of the Coast Salish Nation. He was taught to carve from Floride Joseph and has been carving for 15 years. He typically carves traditional style Coast Salish wood plaques.
|Cultural Background: Haida/Scottish-German, Kaadaas gaah Kiiguwaay, Raven/Wolf Clan of T’anuu|
One of Canada’s foremost artists, Haida artist Bill Reid, an outstanding gold and silversmith turned sculptor, was proclaimed a National Living Treasure and was instrumental in inspiring a people to reclaim their cultural heritage.
Collected internationally and much-honored, Bill Reid created, among his best known sculptures, The Spirit of Haida Gwaii at the Canadian Embassy in Washington, D.C. (The Black Canoe, 1991) and at the Vancouver International Airport (The Jade Canoe, 1996).
Building upon the broad range of his expression, Bill Reid translated his original designs of animal crests into limited editions silk screen or woodcut prints and drawings. This is a reproduction of one of those drawings.
Calvin A Hunt
|Calvin Hunt was born in Alert Bay in 1956. His great-great-grandmother, Anisalaga, also known as Mary Ebbets Hunt, was a Tlingit noblewoman and Chilkat weaver. His grandfather was the renowned Kwakwaka’wakw carver Mungo Martin and his grandmother was Abayah, also a Chilkat weaver. Calvin Hunt is the youngest son of Kwaguʼł Hereditary Chief Thomas Hunt and his mother Maxwalaogwa, Emma Hunt, was the Nuu-chah-nulth daughter of the Mowachaht Chief and Shaman Dr. Billy from Yuquot, (Friendly Cove) on the west coast of Vancouver Island. Calvin is the second cousin of Tony Hunt Sr., who also mentored him in the early years of his career. Between 1972 and 1981 Calvin carved full time as an apprentice with Tony Hunt, Sr. at the Arts of the Raven Gallery. During this time he worked with Tony Hunt Sr. on numerous totem poles commissioned by Germany, Japan, the United States, China and Canada.|
In addition to his monumental carvings, Calvin Hunt is also known for his spectacular regalia. In 1982 he was commissioned by the Museum of Anthropology at the University of British Columbia to create a Thunderbird Dance Costume that consisted of 61 pieces of carved cedar, cedar bark twine, feathers, rabbit fur, and canvas. Since then, Calvin Hunt has created a series of dance costumes for museums around the world.
Calvin Hunt is a highly respected artist, mentor, dancer, and knowledge keeper. He continues to teach carving and also mentors up and coming younger artists, including Karver Everson and Randy Frank from the K’òmoks First Nation. Calvin, along with his wife Marie Hunt are also involved in leading a group of Kwaguʼł dancers that perform internationally as ‘The Copper Maker Dancers’. Calvin Hunt lives and works in the village of Tsax̱is (Fort Rupert) at the northerly end of Vancouver Island.
|Cultural Background: Interior Salish, Thompson Decent, Hope BC|
Born in 1969, Carl is of Thompson descent. As well, he has been strongly influenced by Northwest Coast Native traditions and culture. Carl is deliberate and focused: Deliberate in his desire to paint with excellence, focused in his quest to earn visions that will generate artwork which honors his Gift of Life and the richness, depth and teachings of the Canadian First Nations. Being self-taught, Carl has spent time studying the works of renowned Native artisans as well as the timeless truths embodied in the elders’ stories and legends. From this journey for truth has come his desire to portray the balance and harmony that exists in the Circle of Life. Carl’s art is influenced by his profound love and respect for nature.
“If we give back to the Circle, the Circle will remain strong.”
|Charles was born into the Kwagiulth Nation of Alert Bay, British Columbia in 1959. He has the rights to every crest figure of the northwest coast. Charles began dancing at the age of 3 and didn’t start carving until 22 in 1981. He was inspired by his great grandparents and watching young children carve. In 1997, after the loss of the Great Longhouse in Alert Bay, he was drawn by the tragedy to produce even more work to preserve his native culture.|
|Charles August was born in 1970, Coast Salish, Carrier Nation. He lives in the Capilino Reservation in British Columbia. He was taught how to carve from his uncle Cody Mathias. He carves Coast Salish style rattles and plaques.|
|Cicero August was born in 1940 in Cowichan Bay, Vancouver Island, British Columbia, Canada. This area is representative of the Cowichan Band, a tribe that mainly inahbits the southern region of British Columbia.Cicero began carving at the very young age of eight. He reveals that his inspiration to carve Northwest Coast Native artwork came from Mungo Martin, the father of Northwest Caoast art responsible for bringing the art back when it was nearly lost as a culture.Cicero apprenticed under Simon Charlie for four years. Simon, a master carver, taught Cicero the traditional techniques of carving. With much experience and knowledge of his cultural mythology, Cicero has become a master carver himself|
|Chet Adkins was born in 1960 in Bethal Alaska. Adkins is Yupik Eskimo from the Oscarnill on the Kuscogim River. He started fishing and carving even before he was old enough to go to school. He carves out of ivory, red and yellow cedar. He carves paddles, rattles, talking sticks, totem poles and model canoes. He is a master wood carver and toy maker. He enjoys making toys for his 5 grandchildren. Northwest Tribal Art proudly presents the works of this talented artist.|
|A hereditary leader of the Suquamish Tribe, was born around 1786, passed away on June 7, 1866, and is buried in the tribal cemetery at Suquamish, Washington. The speech Chief Seattle recited during treaty negotiations in 1854 is regarded as one of the greatest statements ever made concerning the relationship between a people and the earth – that speech, published in the Seattle Sunday Star, Seattle, Washington Territory, October 29, 1887, is reproduced here for you.|
|He was born in 1969, in Kwakiutz, Quatsino. He has been carving since he was five years old. He carves out of red and yellow cedar. He makes mask, rattles, talking sticks, big totem poles, model totems and canoe. He sings traditional songs and dances with masks when he calls his Kwakiutz name “UH-MI-DI” – the one that gives feast. He now lives on Northern Vancouver Island, British Columbia, Canada.|
|Craig Voisin was born in 1962 and is a member of the Squamish Nation of North Vancouver, British Columbia.Craig currently lives and produces his art on the Capilano Indian Reservation on the north shore of Vancouver. Craig studied the art of the Northwest Coast under Mathew Baker, who is also a Coast Salish artist.Craig�s carvings are a tribute to his craftsmanship and respect for the creativity of Northwest Coast art.|
|Cultural Background: Tsimshian, Port Essington, B.C.|
A self-taught artist born in Port Essington, B.C., Danny Dennis is one of the rare Northwest Coast artists who produces original paintings.
A TSIMSHIAN Native artist of the Frog / Raven Clan, Danny is from the Gitksan Village of Kitwanga, British Columbia, Canada. Danny’s art reflects the beauty of his homeland combining his past with his present-day experience.Danny’s contribution to the renaissance of Northwest Coast Native art began with international distribution in 1979. His art is exhibited in various museums and galleries in Europe, Canada, the United States and Asia.This self-taught artist cites master artists Francis Williams and Robert Davidson as inspirational since pursuing his professional artistic career in 1978.Danny carves indigenous materials from West Coast ivory and mastodon. His design work is enjoyed by collectors of finely-carved gold and silver jeweler.Unique to Danny’s art are the free-flowing lines capturing the expression of freedom and the infinite possibilities of where a person’s journeys may lead
|Born in 1960, Darcy Joseph is a Coast Salish carver. He is a member of the Squamish tribe and lives on the Capilano Reservation. He carves Coast Salish style wood plaques. He was taught by his cousin Floride Joseph and now his work can be seen in galleries throughout Seattle, Toronto (Canada), California, and Pansf (Rocky Mountains).|
|Cultural Background: Tsimshian from Metlakatla, Alaska|
David Boxley is a Tsimshian carver from Metlakatla, Alaska. Born in 1952, he was raised by his grandparents. From them he learned many Tsimshian traditions including the language. In 1979, he began devoting considerable time to the study of traditional Tsimshian carving.In all of David’s works of art, from totem poles to box drums to prints, he emphasizes Tsimshian style. In the recent resurgence of Native American cultural traditions, artists have become the culture bearers for their tribes. David accepts this responsibility not only in his carving accomplishments, but by bringing the traditions he has learned in his path to being a carver back to his home village.
David is the first Alaskan Tsimshian to achieve national prominence; he is particularly well respected as a totem pole carver, having carved 65 poles in the last 26 years.
“Artists from long ago inspire new generations of Indians to carry on the traditions of which they began. I am determined and dedicated to become the finest artist that I can be while at the same time helping to revitalize and carry on the rich culture of my tribe: I want my sons and other young Indian people to be proud of their heritage.”
|In 1969, David Louis was born into the Squamish band of the Coast Salish Nation located in North Vancouver, British Columbia. He reveals that it was natural transition to begin carving as a teenager since he’s from a large family who is proven Salish carvers. He lists Darren Louis, Peter Charlie and William Watts as his teachers. With his strong perception in expressing the natural richness of First Nations’ people, Davis continues to expand and develop his talent as a Salish designer.|
|David Louis Sr. is a member of the Musqueam band of the Coastal Salish. He lives on the Capilano Reservation in Vancouver; B.C. Born in British Columbia in 1942, David is self taught artist who carves mainly totem poles and wood plaques.|
|David Mungo Knox is a Kwakiutl of the Kwakwaka’wakw nation. He apprenticed under his Uncle, Master carver Tony Hunt Sr. and cousin Tom Hunt. He is the great grandson of Master carver Mungo Martin. David insists on carrying on his family traditions preserving the unique Kwakiutl style. He works in many different mediums, carving in both red and yellow cedar. He also carves and designs his own drums that he uses in his dance and songs of the Kwakwaka’wakw.Nation.|
|In 1956, Delmar Joseph was born into the Squamish tribe of the Salish people in Capilano, British Columbia. Delmar began carving when he was only eleven years of age under the expert guidance of his father, Larry Joseph. Delmar is the brother of famed carver, Floyd Joseph who was instrumental in re-establishing coast Salish carving after its collapse. Delmar’s sureness of line and satin finish is irresistible to admirers of his work.|
|Denny Dixon is a Haida argillite carver, born in 1943 on the Queen Charlotte Islands in the village of Skidegate. He is part of the famous Dixon family, and was taught by his brother Pat Dixon.He has been carving for over 30 years. Denny Dixon works exclusively in argillite and over the years has produced many model poles, platter, pendants and boxes for avid argillite collectors.|
|This is an old name derived from the Raven House of Angoon. As is the case for many of our people’s Tlingit names, the meaning or English expression does not exist.Doug, Yaa nak.ch, is a Tlingit Indian. He is of Raven moiety, Yéil, and a member of the Deisheetaan Clan, Beaver Clan, and is from the Raven House, Yéil Hit of Angoon, Alaska. Doug was born and raised in Juneau, Alaska and carves primarily in silver, gold, wood, ivory, bone, and soapstone. Doug’s designs are Tlingit style and are traditional in form.In 1979 Doug began his wood carving apprenticeship under Ray Peck, a member of the Deisheetaan clan of Angoon, Alaska and an established carver of totemic and panel carvings. Later Doug began working under the direction of Walter Bennett, alsoa local well-known carver. In 1990, Doug began to work with silver and gold engravings under the watchful eye of his brother, Gene Chilton, Sgunax yaa. Doug has since begun developing his skills independently. All of his works of art are original. Each design, totem, mask, and plaque is a unique treasure. Doug takes great pride in continuing his Tlingit ancestral art.|
|Dora Edwards was born in 1985 on Kuper Island. At the age of 14, she learned the art of carving from her parents Connie Edwards and Larry James, who are both well-known Coastal Salish carvers. Their carving style is greatly influenced by Herman Peter, a fellow Coastal Salish Carver whose work is also very popular. Their artwork can be found in galleries in Victoria B.C. and all over Vancouver Island.|
|Eddie Lee is a local Pacific Northwest artist whose love for nature has given him the special ability to breathe life into his carving. He has been carving over 20 years and his carvings usually start with a visual idea. Every piece created by him is an original. He loves to work with soapstone and alabaster and collect his rough materials from all over the world. He also uses unusual media for his carving, including fossilized walrus, mammoth bone and ivory. In 1983, Eddie established his own gallery in Seattle’s Pioneer Square, becoming widely respected by art lovers and collectors from all around the world.|
|Emily Nelson (Wilson) was born in 1946 in Alert Bay, British Columbia and currently lives on Northern Vancouver Island British Columbia. She is one of Kwaguilth descents of the Kwakwaka’wakw nation and granddaughter of Emily Hunt (Wilson). She come from a family that is very active in traditional Kwakwaka’wakw culture such as mask carving, traditional native dancing and singing songs. She started making traditional button blankets, dressed dolls at very young age. She makes her own blankets with wool and hand-sewn button blanket in traditional colours of red and black with shell buttons. She sings her traditional songs and dances with masks when she is called. Her works have been purchased cross the US such as Florida, Rhode Island, New Jersey and California. She feels enjoyable to be working with her culture and arts. Northwest Tribal Art proudly presents the works of this talented artist.|
|Northern Tutchone/Tlingit artist Eugene Alfred was born in 1970 in Mayo, Yukon Territory. He is a member of the Selkirk First Nation in Pelly Crossing, Yukon Territory, where he belongs to the Crow clan. Alfred has studied with noted artists Dempsey Bob and Ken Mowatt, and spent four years at the Kitanmaax School of Northwest Coast Indian Art located near Hazelton, B.C. He later taught a carving course at the Kitanmaax School. Alfred works full-time as an artist, and lives in the Whitehorse area.|
|Glen Harper was born June 23rd, 1964 in Prince George, British Columbia, Canada. He is a member of the Carrier Nation, a tribe located in the interior of the province. It was formed by a group of women who carried remains of their deceased spouses at all times for luck and protection. Glen takes the Wolf, revered for its skill as a powerful hunter and the Frog, representing luck, prosperity and stability, as his main family crests. Glen lists such prominent Northwest Coast Native artists as Charles Harper, Doug Harper and Lloyd Wadhams, as his teachers. He reveals that both Charles’ and Doug’s carving style greatly influenced his own. Glen carves cedar wood as well as gold and silver jewellry. He is one of many Northwest Coast Native artists who rely on carving for his livelihood.|
|Artis George Matilpi was born in Aleut Bay, B.C., and is a member of the Carrier Nation. At age 45, he has been carving for about twenty years. Taught by Amos Dawson, Chief of the Carrier Nation, George Matilpi carves exceptional and traditional Kwakiult wood plaques. He employs the traditional black, red, and turquoise color scheme on unstained cedar wood. Within this traditional framework, Matilpi creates innovative and charismatic animal plaques with personality.In addition to practicing his art, Matilpi is helping to insure its continuation by teaching young carvers in Vancouver, B.C. and Seattle.|
|In 1961, Harold was born in Squamish, British Columbia into the Coast Salish Nation. He takes the Killer Whale and Thunderbird as his family crests, both revered for their size and strength. Harold became involved in making native art eighteen years ago when he was drawn to his family traditions while exploring his heritage. With the influence of Dominic Charlie’s teachings, he began to develop his own distinct style and interpretation of his cultural mythology.|
|Coast Tsimshian artist Heber Reece was born in Klemtu in northern B.C. in 1955. He is an accomplished artist, having received formal training at ‘Ksan in Hazelton. Among his teachers were Art Sterrit, Earl Muldoe and Vernon Stephens. Although his preferred medium is wood sculpture, Heber also is exploring painting and recently studied jewellery making in the Tsimshian tradition with well-known artist Henry Green. Heber is presently living in Terrace, B.C.|
|Born on January 10, 1954 on Kuper Island, Herman Peter has always been surrounded in the rich cultural heritage of his birth. Affiliated with the Coast Salish nation, he learned traditional woodcarving from his nephew, Glenn Edwards of Vancouver Island. Most noted for his wood plaques, he has established a refined and sophisticated personal style in only a three year period.|
His work can be found in galleries throughout Washington and British Columbia.
|Born in 1939, Jack Stogan is a self-taught carver who carves traditional style totem poles. He is from the Musqueam Nation from Fraser River in Vancouver, British Columbia.|
|Jacob Lewis was born into the Squamish tribe of the Coast Salish Nation in 1955. He has been carving since the tender age of seven and became prolific in his 20’s. He’s become internationally renowned for his elaborate original designs, and is best known for his ability to bring traditional and contemporary forms together. Although Jacob adheres to the established rules of Northwest Coast Native art in shape and form, he adds a modern dimension that is completely his own. It is this tension between the old and the new that makes Jacob’s work so compelling and alive. Jacob’s work has been displayed in exhibitions all over North America and remains a part of prominent private collections throughout the world.|
|James Michels was born on July 29th 1969 in Merritt, BC. He is a highly accomplished Cree/Metis artist whose creations are held in high esteem by other artists and knowledgeable collectors. James apprenticed with acclaimed Coast Salish artist Joseph Campbell as well as spent considerable time observing various master artists at the K’san Native Art School. His bentwood boxes and stunning carved panels can be regularly viewed in most of the major galleries of Northwest Coast artwork in both Canada and the United States. James Michels has worked on a large commission of a series of bentwood boxes for the Canadian Government. He also commissioned a series of his bentwood boxes for the participants of the 2005 PGA Golf Skins game in Whistler, BC. As well, his artwork has been purchased by former President Bill Clinton, Former Prime Minister Paul Martin and singing legend Joni Mitchell. James is also sought after for his exceptional large carved panels and totem poles.|
|Joe Campbell is well known throughout Canada and the United States for his skill as a traditional carver of the Northwest Coast. Born on the Musqueam Reserve in October of 1948, Joe Campbell began to carve when he was seventeen years old. Influenced by other carvers in his family and his surroundings, Joe Campbell developed his own style, which he has applied to making wall plaques, masks, totem poles and bowls. Joe Campbell is a member of the Coast Salish Tribe as also signs his pieces as Katxalacha, which is his native name.|
|Born in 1967, Joe Wilson is a talented young Coast Salish artist born in Koksilah, near Duncan on Vancouver Island. He’s a member of the Cowichan Band.His interest in art began in elementary school. Joe first caved at seventeen and is basically self-taught, although he worked under the guidance and was influenced by such talented artists as Simon Charlie, Tim Paul and Jim Gilbert. He has studied Salish art extensively through literature and museum collections. Joe is actively involved in the winter dance ceremonies of his people.A soft-spoken young man, his work speaks of confidence and strength, and he has developed a unique and original style with bold and unconventional colors that are rich and appealing. His work is authentic by Native tradition and also an artistic communication link between cultures.He currently resides on the Tsartlip reserve near Victoria where he continues to paint and carve cedar.|
|Jeff Touchie is from the Nu-Cha-Nulth Tribe in British Columbia, Canada. He is one of the most talented young totem pole carvers in Washington. He was taught by his grand father. Jeff Touchie often uses the thunderbird, killerwhale, seal and frog designs in his totem poles because his grandfather used to carve these designs.He is also a music lover. When he is not carving he plays guitar in front of the Pike Place Market where he also sits and carves his totems.He teaches many young carvers in Washington how to carve. He provides stories for each of his totem poles.|
|In 1967, Jim Charlie was born in North Vancouver, British Columbia. He’s part of the Coast Salish Nation and taken the Thunderbird from his grandfather and the grizzly Bear from his grandmother as his family crests.Jim reveals that he has always been interested in art while growing up in an artistic family environment. He cites fellow Salish carvers, Floyd Joseph and Jacob B. Lewis as his inspiration and follows in the traditional native style of design. He is well on his way to becoming one of the master carvers of Northwest Coast Native art. Every piece of his work is considered a coveted collector’s item.|
|Joe is an artist experienced with the mediums of stone, wood, metal and paper. He began carving in 1979, as a novice, working with carvers in the Pacific Northwest of British Columbia. Over the years he learned much, but there were gaps in his learning. He followed his drive for excellence, saved his earnings, and attended the Kitanmax School of Northwest Coast Art in Hazelton for three years, graduating in 1997. Art gives voice to the conformist and non-conformist in his personality; his intelligence and wit shine through in his pieces.|
|‘Namgis / Mamalilikala artist Kevin Cranmer was born in Alert Bay, British Columbia, but has lived all but four years of his life in Victoria. Cranmer can trace his ancestry to many Nations of the Kwakwaka’wakw people, as well as to the Tlingit of Alaska. His first 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. Cranmer’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. The artist’s credits include several large co-operative projects: a 40-foot pole which stands in Stanley Park, Vancouver. a 30-foot pole on display at the Museum of Civilization in Ottawa and a 36-foot pole carved for the closing ceremonies at the 1990 Commonwealth Games in Auckland, New Zealand. Most recently he has completed an elaborately carved and painted Chief’s seat for the newly rebuilt Big House in Alert Bay. Cranmer has been initiated as a hamatsa, the most important of the complex dance societies of the Kwakwaka’wakw. He continues to create pieces for family and for use in ceremony.;.|
|Isael Shortridge, an accomplishment Tlingit caver, born and raised in Ketchikan, Alaska, now resides in Washington State where he creates his art. Israel is most well known in his monumental totem poles located throughout the totem parks in S.E Alaska. His commissioned works of art are in private, corporative and public art collections including museums throughout the United State, England, German and Scotland. As a member of the Bear clan of the Tongass tribe of Ketchikan, Alaska, Israel strives to perpetuate his cultural and art. Israel sign his deign in Tlingit. Kinstaadaal, Israel’s Tlingit name means, “The Bear That’s Standing Up”.|
|Born in 1970, Larry James is a carver from Kuper Island, Vancouver B.C. As a part of the Coast Salish Tribe, he has been carving for five and a half years and was taught by Glen Edward. Larry James carves wood plaques (loons, moons, and thunderbirds) and also three-dimensional salmon carvings.|
|In 1969, Les Harper was born in Vanderhoof, British Columbia as a member of the Carrier Nation. This small cultural group is located in the northern coastal region of B.C. The Carrier Nation was formed by a band of women who carried the remains of the deceased spouses with them at all times for luck and protection. The predominant crest figure of the Harper family is the Frog which represents luck, prosperity and stability. Les began to carve in cedar at a very young age under the guidance of his uncles, Doug, Charlie and Glen Harper, all noted Native carvers.|
|Matthew Baker was born on 1953, from Capilino reservation in British Columbia to a Kwakiutl and a Coast Salish father. He was taught to carve Kwakiutl style from his father. Mathew Baker employs a traditional tri-color design on unstained wood. His crisp lines and elegant combination of animal forms has helped to distinguish him as a unique and talented artist. His art work can be seen in Vancouver B.C. and Washington state.|
|Nathan Lewis was born in 1973 on the Squamish Reservation in North Vancouver, British Columbia, Canada. From early childhood, he displayed an astonishing artistic ability. He spent many hours watching fine old Salish craftsmen carving. At the feet of his elders, Nathan learned to carve and design. In the great long houses, he heard the songs and saw the dances of his people and grew to understand the beauties and subtleties of his Native tradition. He studied whenever and wherever the opportunity arose. He slowly and surely gained mastery over the materials he worked with. Nathan has surely achieved his ambition. His wood carvings and graphic designs are each unique creations connected by one common aspect, his direct perspective of nature and beauty. .|
|Cultural Background: Woosh Ke Taan Clan, Tlingit/Norweign, Juneau Alaska USA|
Odin Lonning (Tlingit name Sh’now Taan) is an award-winning, professional Native artist from Juneau, Alaska. He is Woosh Ke Taan (Eagle/ Shark) Clan through his Tlingit mother, and he shares the name of his Norwegian father. Odin was motivated to explore Tlingit art when he saw his first traditional dance performance at age ten.
In the mid-1970s, the Juneau Centennial Committee, Juneau School District, Goldbelt Corporation, and Sealaska Corporation commissioned works by Odin for permanent display. In 1989, he attended the Institute of American Indian Art in Santa Fe, New Mexico. Since 1974, Odin has won multiple awards in art shows throughout the Western US.
|In 1957 Patrick Amos was born on Nootka Island located on the west coast of Vancouver Island into the Mowachaht Band, one of the fourteen member tribes of the Nuu-chah-nulth Nation. Since 1976 Patrick has been designing limited edition prints. In 1979 he began carving wood, apprenticing with Tony Hunt Sr. at the Art of the Raven Gallery, in Victoria, BC.. Later, he apprenticed with Tim Paul at the Royal British Columbia Museum carving shed in Victoria, where he assisted in totem pole projects.In 1990 Patrick Amos and Tim Paul carved a 36′ Hesquiaht totem pole for the Mauri people of New Zealand. Patrick Amos began selling his work through the Royal British Columbia Museum shop in Victoria, B.C., as early as 1976. Patrick had his first solo exhibition in 1991 at the Gallery Indigena in Stratford, Ontario. In 1992 Patrick was invited to show his work at an exhibit at the Native Heritage Center in Duncan, BC.. Patrick’s work has been steadily shown at Images for a Canadian Heritage in Vancouver, B.C. ; the Douglas Reynolds Gallery in Vancouver, BC. ; and the Gallery of Tribal Arts in Vancouver,BC. The Royal British Columbia Museum in Victoria, BC. has several paintings and prints of Patrick’s in their permanent collection. Increasingly Patrick Amos is being commissioned for larger works and he now takes on apprentices to assist with these projects. His commissions include a 10′ x 30′ mural for the Mount Klitsa Junior Secondary School, in Port Alberni, BC.(1995) ; a 14′ totem pole for the Alberni District Secondary Scholl in Port Alberni, BC.(1997) ; an 8′ x 20′ painted mural for the HA-HO Payuk Elementary School on the Tsahahe reserve in Port Alberni,BC. ; and a 7′ totem pole for the Gallery Indigena in Stratfort, Ontario.Patrick is active in his community, giving carving demonstrations at various schools throughtout the Port Alberni, BC. School District each year. Since 1991 Patrick has taught a native art class at the Duquaht Art School in Uclulet, BC.|
|Paul was born in 1960 in Squamish, British Columbia. This area is representative of the Coast Salish Nation, a community that inhabits the Southern region of the Province. Paul began making Northwest Coast Native artwork in 1970 as a result of being born into a family of carvers. Paul lists Floyd Joseph as a major influence on his carving style and technique. Paul is on of many Northwest Coast Native artists, who are preserving the carving traditions of their culture through their artwork.|
|Chief Peter Knox Martin was born and raise from Fort Rupert Kwakiutl. He is the son of renowned Chief Mungo Martin. The art of hereditary Kwagiulth Chief and master carver, Peter Knox, is a contemporary expression of an ancient and unbroken design tradition of the native people of the Northwest Coast. Peter’s future as a master carver and designer was established at birth. As a young boy, Peter apprenticed as a carver and painter and learned traditional ceremonial dances and songs in the big house of his father.He learned the basic skills of the traditional Northwest Coast style, and applied it to his knowledge of designing, carving, and painting. He began doing traditional art in early childhood with his cousins Tony Hunt Sr. and Tom Hunt. He also received the training from Chief Mongo Martin until his father died in 1962. His work ranges from masks carved from red or yellow cedar to drums, prints, and walking sticks. The success that Mungo and the other family members have had in preserving the Kwakiult culture, influences Peter greatly.To his own worlds “When I carve a ceremonial mask, I select a nice piece of tight grain, red cedar. I have in mind what I want to make, so I start to remove wood with an elbo adz until I get it into the shape I want it. Next, I use a straight knife, curved knife and a slightly curved knife to cut the lines and curves out the deep spots to sink in the eye orbits. It is a wonderful feeling to accomplish a mask that will be worn in many potlatches and feasts for many years to come.He continues…”It is important to know the proper elements for designing, knowing all of the shapes that are used and using them correctly and making them flow together. Designing a mask is not the same as doing it on paper, a mask is three-dimensional and paper is two-dimensional”.Northwest Tribal Art proudly presents the work of this artist.|
|Randy Stiglitz is a native of Vancouver, British Columbia. He was born of Cree descent on August 17, 1953. Through his interest in the Native arts, he moved to the Capilano Indian reservation at the age of seventeen. After spending five years there, he moved to Victoria, British Columbia where he worked under the direction of Gene Brabant. The genius of Stiglitz’ art is in his mask carving.|
|Rick Thomas is an outstanding native carver of West Coast and Salish descent of the Stayout Tribe. Born in 1948, he was raised in the Stayout Reserve in Sidney, B.C. Currently living in Vancouver, B.C, Rick Thomas is a full time carver who works in a wide variety of mediums, from wood and stone to bone and antler. Learning to carve from well known artist Eddie Omnik, Rick Thomas is also related to the Pelkeys and Pouparts, who are well known for carving soapstone. Rick Thomas is a Vietnam veteran, serving in the Marine Corps and the Marine Recon-Patalion for four years between 1970-1974. Now he is residing in Alaska and in Washington.|
|Richard Baker Was Born On 1959, From Capilino Reservation In British Columbia To A Kwakiutl And A Coast Salish Father. He Was Taught To Carve Kwakiutl Style From His Father. Baker Employs A Traditional Tri-Color Design On Unstained Wood. Beiside a talented wood carver, Richard is famous for his silver and gold juleries artworks. His Crisp Lines And Elegant Combination Of Animal Forms Has Helped To Distinguish Him As A Unique And Talented Artist. His Art Work Can Be Seen In Vancouver B.C. and Washington State.|
|Born in 1951, Richard Hunt is from Alert Bay, B.C., although he has spent most of his life in Victoria. Here he absorbed much of traditional Kwa-Gulth culture through his family’s involvement in totem carving projects at the B.C. Provincial Museum. Richard began carving at the museum in 1972, leaving the position of chief carver in 1986 to pursue a freelance career. He works primarily in wood, but also paints and most recently has begun silver engraving. An important part of his artistic activity is producing pieces for ceremonial use and Richard himself is an accomplished dancer, owning the hamat’sa dance two times over. From his home studio in Victoria Richard creates his art which is in great demand; in his leisure time he enjoys competitive sports. In 1991 Richard was the recipient of the Order of British Columbia and in 1994 became a member of the prestigious Order of Canada.|
|Cultural Background: Kwanlin Dun First Nation, Northern Tutchone, Yukon|
Richard was born in Whitehorse, Yukon Territory in 1959 and belongs to Kwanlin Dun First Nation, Northern Tutchone. Richard is a self taught artist. He originally started painting wildlife at an early age along with painting his favorite rock star or sports idol. In 1978, Richard moved to Vancouver.
In the early 1980’s, Richard started painting West Coast Native design and soon developed his own distinct, style, using the wildlife form of the animal and adding his native design on the inside of the form. By now, stores were asking for and purchasing his work.
Over the years, Richard has moved around – Vancouver Island, Richmond, Whitehorse, always returning to Vancouver. Today, Richard is one of the most sought after Native artists, with works in many galleries throughout. He is very versatile, working on drums, paddles, masks, rattles in addition to his paintings. His pieces are collected internationally.
|Ryan is a Cree artist who has been surrounded by Northwest Coast art from the time he was born. Ryan was inspired to begin creating artwork by his step-father, Randy Stiglitz, who is an established Cree/Coast Salish wood carver. Ryan is excited to apply Cree aesthetics to silver jewellery. In 2009, Ryan graduated from Vancouver’s Northwest Coast Jewellery Arts program under established Haida/Kwakwaka’wakw artist, Dan Wallace.|
|Son of Lydia Whonnock, Sean Whonnock was born and raised in Alert Bay, B.C. His grandfather, Gideon Whonnock and godfather, Karl Svanvik have been the guiding forces in Sean Whonnock’s life. At the age of 7, Sean first met his cousin Joe Peters Jr. Sean has a strong memory of Joe Peters Jr. carving at this time and credits him with being his first and strongest influence. At the age of 12, Sean enrolled in a carving programme taught by George Hunt Jr. In his early 20s, Sean studied and carved with Simon Dick, and later, with Beau Dick and Wayne Alfred in Alert Bay. Other artists who have inspired Sean Whonnock are Art Thompson, Joe David, Russell Smith, Susan Point and Robert Davidson. In 1994, Sean moved to Victoria and continued to pursue his carving. Since 1997, when the artist first joined the carving programme at Thunderbird Park,. He has been engaged in a number of commissions both as an individual artist and as a member of group projects. During this time Sean worked with a number of other artists including Shawn Karpes, Johnathan Henderson and Luke Marston. Sean is committed to the well being of his community and is taking an active role in its cultural events. In 1999, Sean was given the Chief’s dance and a new name from his family at the Whonnock-Henderson pole raising in Victoria. At the present time Sean is involved in a number of community based cultural projects and adding to his knowledge of dances and songs.|
|Coast Salish artist Stan Greene is from the Semiahmoo Band, southeast of Vancouver. He was born in 1953. Stan has been carving and painting full-time since 1976, when he studied with Vernon Stephens, Ken Mowatt and Murphy Green at the Kitanmaax School of Northwest Coast Indian Art at ‘Ksan. He produced the first Salish screenprint in 1978. He is now a leading carver for the Salish people, working on such prestigious commissions as totem poles for Japan and a pole for the 1994 Commonwealth Games. Stan attends Native gatherings all over North America, and currently resides with wife and four children in Sardis, B.C.|
|Cultural Background: Kwakwaka’wakw, Kwagiulth Nation of Campbell River, BC|
Steve has been doing native art since 1988. When he started out, his father, Harris Smith-Lalkawilas, gave his training. To this day, he thanks him and his mother for the many teachings and time spent learning about the art and business behind native art. He admits there is so much to learn and hopes to continually do so as the years pass.
Steve feels extremely blessed to wake up every day and have the opportunity to do something that he love so much. So, when people ask if he works, it’s hard for him to actually say that what he does is ‘work’. He gets to play, have fun and spend time with his wife, Jenny and wonderful daughter, Rachel.
“Creativity is everywhere at all times. To be open to that and to be able to have it flow through me and out of me without getting in the way of it is completely freeing.”
|Sue Coleman has earned international recognition for her distinctive watercolor paintings. Especially popular have been her ‘Interpretive’ Northwest Coast Indian images, which have been reproduced and sold to collector’s worldwide. Sue’s years of research have culminated in a book entitled “An Artist’s Vision”. Many of her native interpretive paintings, accompanied by legends and history, are displayed therein.Sue maintains a studio in Cowichan Bay on Vancouver Island, Canada and paints a variety of subjects including misty west-coast scenes, wildlife, landscapes and more. She actively works to promote environmental awareness and wildlife conservation.|
|Coast Salish artist Susan Point was born in Alert Bay, British Columbia, on April 5, 1952. Since birth Susan has lived on the Musqueam First Nation Reservation in Vancouver, B.C.Susan began her art career in 1981 with engravings on bracelets, rings, pendants, earrings and barrens. Although many of her contemporaries were producing designs which were representative of more northern native groups, she chose to concentrate on the designs of her own people. Consulting with her uncle, Professor Michael Kew, an anthropologist at the University of British Columbia, Susan began to investigate traditional Coast Salish art forms. One of the forms that intrigued her was the spindle whorl, a wooden disk, elaborately carved, which was used in the spinning of wool.Using silk-screen prints, Point began experimenting with traditional two-dimensional designs. Her first print was Salmon. This design is of four salmon in a circular format, recalling the spindle whorls Susan had studied in the museums and collections. She went on to produce more than 100 prints during this period, revealing a mastery of the traditional Coast Salish style.During the next ten years, Susan worked to define her interpretation of traditional art forms. In 1983, she began blending colours, prompting some critics to reject her colour schemes as nontraditional. Although Point was concerned about this negative reaction, her creative drive prevailed, and soon she was exploring other techniques, such as foil embossing, paper casting, linocut printing and lithography.In the 1990’s, Susan Point began creating three-dimensional art in materials such as glass, bronze, wood, concrete, polymer, stainless steel, and cast iron. Due to her willingness to explore new mediums and work on a large scale, Point has been awarded numerous public art commissions, including building facades and large sculptures.Susan Point has been acclaimed as one of the most innovative artists of our time, adapting traditional Coast Salish art forms to modern designs and materials.|
|Tim Alfred was born in 1967 in Alert Bay, British Columbia and moved to the village of Fort Rupert, B.C., Canada, in 1985. His family tree includes the banks of Kwakiutl (Fort Rupert), Namgis (Alert Bay), Mumtagila (Etsekin and area), Mamaleleqala (Village Island) and Tlowitsis (Turnour Island). At a memorial potlatch for his brother in 1989, his mother’s family placed him in the family’s Chief position at the Big House in Alert Bay, B.C. where he received the name “Mus-cum-tsi”, which symbolizes the four clans of the Kwakwaka’wakw Nation. Tim first started carving in the world-renowned Kwakiutl style at the age of 20 and was mainly taught by Stanley Hunt. Wayne Alfred, Beau Dick and Calvin Hunt were also influences in his carving career. As a young artist he was able to learn techniques in making bentwood boxes, planking from cedar trees, carve masks, paddles, model canoes and making regalia for traditional use in the Big House. Some of his other projects include two drums and twenty paddles he made for the Fort Rupert Elementary School in 1998. He has also done charity work for memorial trophies and made donations to various fund-raising events in his community, including the reconstruction auction to benefit work for the Big House in Alert Bay. His work sells to many galleries including sales to museums in Alert Bay and the Royal British Museum in Victoria. Recently, he has had he opportunity to work on totem poles with Calvin Hunt, Mervin Child and David Knox for the Kwakiutl Band day care project in Fort Rupert.|
|The son of George and Mary Hunt, Tom Hunt is from the Kwa-Gulth nation and was born in Victoria, B.C. in 1964. He began learning about Kwa-Gulth art with his father at the age of twelve, and later worked with his brother George Hunt Jr. During his teenage years Tom spent several summers working with his maternal grandfather, Sam Henderson. In 1983, he moved to his home village of Fort Rupert, where he worked as an assistant to his uncle, Calvin Hunt. This apprenticeship was an important period in Tom\�s development as a versatile and accomplished artist. Tom has also been an assistant carver to Susan Point on several of her large sculptures. He moves comfortably from massive wood sculptures to very small, intricate pieces. Tom Hunt\�s work, is in collections world-wide. He is presently living and working in Campbell River B.C.|
|The art of hereditary Kwagiulth Chief and master carver, Tony Hunt, is a contemporary expression of an ancient and unbroken design tradition of the native people of the West Coast of Canada.Tony’s future as a master carver and designer was established at birth. His grandfather, Mungo Martin, tied baby eyelashes to a paint brush to spiritually confirm the child’s future as an artist. As a young boy, Tony apprenticed as a carver and painter and learned traditional ceremonial dances and songs in the big house of his grandfather.Chief Tony Hunt’s two and tree dimensional works are represented in public and private collections throughout the world. His monumental sculptured works are found along coastal British Columbia, in the Museum of Man as well as being exhibited in the United States, Mexico, Argentina, England, Germany, New Zealand, China and Japan.Tony says of his designs: “To my people clan and family identities were proudly displayed everywhere and on every item of daily life. I continue to create designs that speak of the greatness of the Kwagiulth traditions.”|
|Tony Gulbrandsen was born of Tsimshian heritage on the Northern British Columbian coast. He learned the traditional Kwa-guilth style carving from Randy Stiglitz, a master carver. Now in his thirties, he’s living in Prince Rupert B.C. Tony is earning a reputation in galleries throughout the Northwest Coast with his dramatic masks and rattles.”|
|Born in 1970 in Picture Bute, Alberta, Troy Bellerose is a member of the Cree nation. After moving to British Columbia, Troy became intrigued with the traditional art of the northwest coast and studied carving under Nisga’a artist Andrew Morrison. Using the local red and yellow cedar, Troy creates beautiful wall panels and paddles in the west coast style. Although Troy has worked primarily in wood, he looks forward to learning to work in a greater variety of mediums. Troy’s work in private collections around the world.The paddle that Troy carved has both the Wolf design and the Raven design. These are two of the most popular and respected animal crests in northwest coast art.The Wolf is revered for its hunting skill and ability. Through this hunting ability the Wolf is known as the protector of the animal kingdom. It is also known for its strong family kinship. They mate for life and travel with their families in a pack and are a very social animal. The Wolf is also the land manifestation of the Killer Whale as they are both fierce protectors of their young, choosing to never leave their families.The Raven is the transformer, trickster and creator. Known in legends as the one who released the Sun, Moon, and stars, discovered man is a clamshell, brought Salmon and water, and finally taught man how to fish and hunt. The Raven is famous for being somewhat mischievous and always does things to better himself, which in the end better mankind.|
|Nisga’a – Haida artist Wayne Young was born in 1958 in Prince Rupert, B.C. He began studying Northwest Coast design at age fifteen with noted artist Dempsey Bob. In Prince Rupert, Wayne also started to dance and carve. Between 1985 and 1989 Wayne assisted his uncles Robert and Norman Tait in carving a series of totem poles. He is currently living and working in Victoria, B.C.|
|William Hilamas Edward Wasden Jr. (Wak’analagalis) “The River Runs Through Him Forever” is a member of the ‘Namgis tribe of the Kwakwaka’wakw. He is a descendant of the Cook, Hunt, Alfred, Harris and Inis families. He can also trace his ancestry to the Tlingit of Alaska and the Mowachat of the West Coast. He has been initiated into the Hamat’sa Secret Society, the highest-ranking dance society of the Kwakwaka’wakw. His artistic abilities have been developed through teachings from Chief Douglas Cranmer; and working with Simon and Francis Dick. In later years William’s style was greatly influences by Haida Artist Don Yeomans. William’s inspirational influences of old are the late Chiefs and Artists, Bob Harris, Herbert Johnson, Mungo Martin, Willie Seaweed, Henry Speck, and Charlie G. Walkus. William works mostly in flat design but also creates pieces in a variety of mediums. Most of his pieces have been commissions from families needing Potlatch paraphernalia, and they remain in the cultural world. He has a great interest in singing and preserving the ancient songs of his people. Under the mentoring of the last song keeper composer, the late Chief Tom Willie and wife Elsie. William has been groomed as a song keeper and composer for Kwakwaka’wakw ceremony and everyday enjoyment. William has taught many of the young, up and coming singers and continues to contribute to cultural preservation by learning the songs of old. He continues to compose and bring forth songs when occasions call for new songs. He has trained other singers to record 3 CD’s to assist his tribe in their efforts to fundraise for various events needing funding. The CD titles are “One Nation One Voice”, “Rising From The Ashes” and “Laxwe’gila”.|
|William Watts was born in 1967 by Nu-Chahl-Nuth father and Coast Salish mother. William is tribal affiliation and currently lives on the Capilino reservation near Vancouver B.C. As early childhood, William became intrigued with the traditional art of the Northwest Coast and studied carving under Coast Salish artists John and Al August who are well known artists in the Northwest Coast artist communities. William carves Salish styles totems, wall panels and dancing masks. His works are in private collections around the world. Northwest Tribal Art proudly presents the works of this carver.|
|Yukie was born in Hokkaido, Japan. In 1984 she married Henry Adams (Alaskan Tlingit). Since Yukie married into an Alaskan Tlingit family and became a part of the Tlingit culture, she made a study of the native arts on the Northwest Coast and began creating designs for Paintings, Serigraphs, Prints & Drums. After she lost her husband she started to create Wood Carvings and Mixed Media. The combination of modernism and traditionalism is a unique identity of her works.|