Lyle Wilson_catalogue_8x10in_08152016

Lyle Coastal Peoples Fine Arts Gallery presents
Haislakala: Spoken from the Heart
Wilson

Masterworks in Jewelry & Mix-media FINE ARTS GALLERY

EST. 1996

Coastal Peoples Gallery Artist Statement

Svetlana Fouks Lyle Wilson

Founder/Director Artist

It is a distinct pleasure for Coastal Peoples Gallery to present Haislakala Besides thinking consistently in a “jewelry-mode”, working on a solo
- one of our most notable and monumental jewelry and mixed media “jewelry” show over a long period of time “demanded” both the usage
exhibitions exclusively created by Haisla master artisan Lyle Wilson. and improvement of all my techniques: sketching, filing, engraving,
For those who are familiar with our collection, it is very apparent that texturing, carving, repousse’, chasing, etc.. The more work I completed,
jewelry [wearable artwork] has played a significant role in the cultural the more one realizes, that pursuing all jewelry avenues would take a
objects we’ve assembled over many years. Since our inception in 1996, more than one life-time; and still, one would know relatively little of the
we have developed and elevated our jewelry selection to include entire jewelry field.
classic metals such as silver, gold and copper and, more significantly, However, I do enjoy both the learning process and the
incorporated mixed media to illustrate the progression and new intensity required of working at the small, intimate scale of jewelry
influences shaping First Nations artists today especially Lyle Wilson. His --- which to most viewers’ first glance, the amount of effort and time
complete devotion to the evolution of Haisla art, language and culture put into such small works seems all out of proportion to any possible
has earned him many accolades during his ongoing quest. “reward”.
From Lyle, I have learned immeasurably concerning Haisla Historically, Pacific Northwest Coast (PNC) jewelry started
traditions and how Haisla language has personally played a considerable with bone, ivory, horn, shells and stone --- mediums, more or less
role in his life, especially in the creation of his art. The more I absorb, indigenous to the PNC. Every time I worked in one of those ancient
the more my perspective broadens to further appreciate the value and mediums, I gained more knowledge and respect for past “jewelers”.
rhythms of this art form. Lyle’s remarkable attention to even the finest When metal was introduced, earlier PNC carvers eagerly
details in his work, and his endless efforts to cultivate the preservation of embraced their qualities; and I’m no exception because I love the
Haisla form line, inspires and creates excitement for the next generation. qualities of the two most commonly used metals of my time: silver and
More importantly, I appreciate his dedication to family and traditions gold. Everything has to be as “perfect” as one get because the medium,
that speak to a deep connection to his roots and how it continually small scale and complexity of PNC imagery used on precious metal
drives his passion – a truly impressive attribute that few undertake. both “demands”, and is complimentary to it. When things work visually,
When presented with the idea of a solo jewelry exhibition, in gold or silver, the over-all artistic effect is exceptionally striking and
Lyle wavered for a moment, then quickly and firmly agreed this would not really easily comparable to other mediums that I work in.
be a momentous milestone. Given his years of devotion to this vital Jewelry has a special category in PNC art and has its own
art form, he understood that the time to embrace it was now and he special devotees. Why that should be, I can’t really, truly explain it, I can
was ready. Given his tremendous scope as an artist, he soon realized just tell you I’m one of them!
that showcasing only jewelry would be limiting. His mixed-media I like to look, and look, and look again at jewelry because
work of combining unconventional materials to create a harmonious every time I do take the time to look, something else about the piece
balance between figures visibly defines his artistic repertoire. Only a catches my eye. Now that everything’s completed for this particular
master artist with decades under his belt could possess the foresight exhibition, the long hours of pain-staking work have become hazy
to envision which specific materials complement and complete an art memories and replaced with a deep appreciation of the opportunity to
piece. create this body of work that, hopefully will find a worthy place within
The common thread tying Lyle’s magnificent collection the history of PNC jewelry.
together is quite simply the Haisla stories and dialect that have
survived throughout the generations - first orally and now solidified in
written form to be preserved for the next millennia. The tremendous
importance of communicating through visual art to keep a culture alive
is key to its endurance. This element has been the driving force for
Lyle’s solo exhibition, which highlights more than simply beauty and
extends to a tangible sensitivity in design, depth, detail and dialect.
These four components give vitality to the artworks Lyle has crafted
where no detail has remained untouched and even the titles are
honourably represented in the Haisla dialect.
We are privileged to present this exhibition dedicated to
Lyle Wilson’s determination to reach for the stars in every aspect of
his creative process. His art brings out many emotions, but primarily
gives voice to the preservation of language, culture, and fortitued for
continued growth. Thank you Lyle for your inspiration and knowledge;
it has been an amazing journey.

1. Raven & Moon Pendant 1
22K Yellow Gold, Abalone Shell
Cast, Chased, Engraved, Textured

2.25 x 1.5 x 0.25”

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Gold

Qolun (Beaver) Bracelet 2

Bracelet

This bracelet continues the theme of my roots in the Beaver Clan, as the main character is a Beaver. Since my present
Eagle Clan was kind enough to adopt me, I really couldn’t leave them out of the “story,” and so an Eagle is around
the back as the small face occupying the Beaver’s tail. Being part of both clans is an advantage for me in many ways,
not the least of which is that I have twice as many advisors to “keep me on-my-toes.”
Over the decades, I’ve picked up a range of artistic techniques that I’ve always wanted to incorporate
into a nice, big, gold bracelet and this is the closest I’ve come to attaining that goal. Traditionally, abalone would
have most likely been used for the inlay but I’ve always been intrigued by metal combinations, so I chose to follow
that particular artistic muse and use platinum inlays instead. I think it gives everything a much different and modern
look that really sets it apart and really pleases me.

2. Qolun (Beaver) Bracelet
18K Yellow Gold, Platinum
Repousse, Chased, Engraved, Textured,
Hinged with Catch
2 x 7.25” (inside)
2 x 9” (outside)

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Museum of Anthropology managed to survive—were intended to erase thousands of years
of history and knowledge. It is with awe that I say that the power of
Karen Duffek the art form could not be contained by externally imposed laws and
religion. Northwest Coast art is alive and well. I don’t believe it is yet
Curator, Contemporary Visual Arts & a “renaissance,” as it is often referred to. A renaissance must include
Pacific Northwest language, thought, performance, and involvement from the whole
First Nations community as well as support from all those living on the
It was 27 years ago that Lyle and I collaborated to produce an exhibition unceded lands. I do admire and will contribute in any way that I can
of his works on paper at the UBC Museum of Anthropology. Entitled to the resurgence of painted and carved arts of the Northwest Coast.
Lyle Wilson: When Worlds Collide, this first solo exhibition of his art It will take time to rebuild the arts to past complexities and, as with
presented the trajectory of his early career, from 1979 to 1989, in other arts of today, Lyle’s work will be recognized in the future for time
which he experimented with printmaking and drawing techniques. The in which it was made and the vision he contributed to rebuilding this
works made visible—through shattered ovoids, exploded symmetries, unique art form.
and a rainbow of colours—his concerns both with the constraints
imposed on Northwest Coast art through its stylistic codification by The oldest Northwest Coast artifacts have an organic nature that
museums and academics, and with the art being pulled out of context imbues the work with life. This is not because of the patina the work has
by the continuing impact of colliding worldviews. Now, when I look gained through years of use, but because the character of the carving,
at his more recent work, I see an emphasis on wholeness. Instead of weaving, or painting represents a personal connection between
fragmented forms wrenched from traditional motifs, the images the artist, the material, and the finished work. An art form that was
embody a turn toward solidifying his base. His iconography explores millennia in the making, and that was distilled into elements that only
both ancient origins and new possibilities, while acting with urgency those with knowledge or the privilege to have that knowledge could
to counter the threats he perceives to the future of the Haisla people, appreciate, reveals a level of connection between artist and material
their language, and their environment. that, I feel, is more difficult to find in most contemporary work. Lyle’s
connection with the material he uses leaves his unmistakable imprint
Words are integral to the way Lyle presents his art. He has on his art.
wrapped the compositions and their subjects in Haisla terms—re-
shaping the alphabet, and literally mapping words onto images. This The origins of Northwest Coast art styles may never be proven,
gesture of naming and re-naming makes public his current efforts to but it is clear that the art of the central coast was less prescribed than
learn Haisla, and manifests his hope for what the art might help “do” that of the north, and allowed for more personal flare. Lyle carries this
for his own community, and for the task of staving off the loss of a living through his works to the extent that his personal vision is recognizable
language. These are artworks of beauty and accomplishment, as well beyond his revitalization of the nuances of Haisla style, and beyond
as of action. his signature. His carvings and paintings are directly connected to
his unique appreciation of all things Haisla, including the language
Bill McLennan and the land, his exceptionally fine craftsmanship, and his vision of
where contemporary Northwest Coast arts should be. It is also in his
Curator Emeritus, Northwest Coast experimentation and dialogue with a range of materials and processes
that we can witness how he looks to overcome obstacles and refuses to
When you have known an artist for quite some time, it is hard to separate compromise on any detail of production.
the art from the individual. I have known Lyle Wilson and followed his
work with great interest for at least 36 years. We worked together in Lyle’s work in large metal and glass fabrication can be seen
the 1980s and ’90s on the Museum of Anthropology’s Image Recovery at the Vancouver International Airport in the International Terminal
Project, in which Lyle skillfully reconstructed Northwest Coast paintings and the Pacific Passage. On a different scale, he has experimented
revealed through infrared photography and from early photographic with ceramics as part of a Museum of Anthropology project to create
glass plates. Over those years, Lyle built a deep understanding of the some less expensive Northwest Coast art products that still had classic
nuances of Haisla and other Northwest Coast styles of painting and detailing and could be put into practical use. The ceramic plates and
carving. He continues to develop his own theories about the origins bowls worked well, and I can attest to the functionality of a ceramic
of the style in elements of the lands and waters of the coast. To write Raven coaster that I use on a daily basis, and that supports my hot pot
about such an individual’s work in a disconnected manner—that is, perfectly! The project ended when it became difficult to find consistent
to comment on and analyze it objectively—may be expected from manufacturing quality to match Lyle’s standards. My only regret is that I
the “expert curator,” whose words and affirmations can help position don’t have complete set of the products that were made.
the work within a wider world of art and commerce. But there are
other, larger contexts as well, through which Northwest Coast and Lyle’s studies at the Vancouver School of Art, now the Emily
other Indigenous artists connect their work to their time. And here I Carr University of Art and Design, gave him grounding in etching,
especially appreciate Lyle’s artistic vision. lithography, and silkscreen printing. Silkscreen and lithograph prints
have fallen out of favour in Lyle’s repertoire in recent years, but he
I am aghast when I read through historical documents recording the continues to work in etching and intaglio printing. In his present style
destruction of Northwest Coast artworks in the name of Christianity. of intaglio printing, the composition is engraved into the surface of a
This action, which occurred among the Haisla as well as other peoples silver plate, using much the same technique as when he engraves a silver
of the coast, must be seen as no different than the burning of books, bracelet. The main difference between the engraved plate and bracelet
both of which happen when ignorant people are confronted with the is that on the plate the image is engraved in reverse, as the paper print
unknown. The destruction of knowledge, whether visual or written, is that is pulled from the plate after it is inked and printed is the finished,
the real sin. The epidemics, the imposition of reserves, the banning positive work. This is an art form that complements Northwest Coast
of the potlatch, the Indian residential schools—one of which Lyle themes, particularly Lyle’s style of storytelling imagery.

This exhibition marks a major achievement for Lyle Wilson. He has
dedicated many months and endless hours to assemble an impressive
body of work. I wish Lyle and the Coastal Peoples Gallery the best of
success with the exhibition.

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Lalag°ada 4

(Butterfly) Pendant 5

As kids, we chased after butterflies (Monarch, Painted Lady, 4. Ḡax̄ & Gizawa (Raven’s Sun) Pendant
Swallowtails, etc.) despite an elder telling us they were once 18K Yellow Gold, Abalone Shell
considered “souls of dead.” Of course, we were too young Repousse, Chased, Engraved, Textured
to pay attention to that concept, but with the passage of 1.25 x 1.25”
time, my memories of all those beautiful Lalag°ada (butterfly)
tugged at my “muse.” 3. Lalag°ada (Butterfly) Pendant 5. Ah-gee-gays (Super Natural Sea
Traditionally, a Lalag°ada meant different things 18K Yellow Gold, Abalone Shell Monster) Hat Pendant
to different Pacific Northwest Coast groups: companion, Repousse, Chased, Engraved, Textured 18K Yellow Gold, Abalone Shell
messenger, savior, supernatural spirit. To me, it’s a pleasant 1.5 x 1.5” Repousse, Chased, Engraved, Textured
memory from a less complicated time. 1.25 x 1.25 x 0.5”

Ah-gee-gays

(Super Natural Sea Monster) Hat Pendant

Because I like the traditional Pacific Northwest Coast hat’s
shape, I made this pendant in the shape of such a hat. The
Haislakala name Ah-gee-gays means “Supernatural Sea-
monster.” Ah-gee-gays is a high-ranking name in the Haisla
Beaver Clan.
The last recorded sighting of the Ah-gee-gays was
at the mouth of Sa-Wee (channel). It came up underneath
and lifted a canoe out of the water; water swirled around
everywhere and the canoe’s passengers shouted and
screamed until the high-ranking matriarch had the presence
of mind to talk calmly. She told Ah-gee-gays that no harm was
meant to it and asked to be let down in peace. So it was, ever
since then, the name has had an honoured place amongst the
Haisla.

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Gold

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Bag°ana

(Skatefish) Pendant

6. Bag°ana (Skatefish) Pin/Pendant The Bag°ana (skatefish) has become one of my favourite characters because it is
18K Yellow Gold, Abalone Shell a strange looking creature that has a beautiful, sculptural shape that is perfectly
Repousse, Chased, Engraved, adapted to the depths of the ocean. Historically, the solid circle, surrounded by a
Textured separate fine-line, on the Bag°ana’s wings has been credited with the start of the
2.5 x 1.5” famous Pacific Northwest Coast Ovoid shape. I wanted to pay homage again to
the Bag°ana and this gold pendant is the result of my fascination with its shape
7. M̓ um̓ ug°azu (Halibut) Pendant and history.
18K Yellow Gold, Abalone Shell 7
Repousse, Chased, Engraved,
Textured Orca Chief
1.75 x 0.75”
Pendant
8. Orca Chief Pendant
18K Yellow Gold, Abalone Shell, The Orca Chief rules the oceans and lives in an underwater big-house similar to
Mastodon Ivory traditional big-houses used by Pacific Northwest Coast people. Since he was the
Repousse, Chased, Engraved, highest-ranked chief, his big-house was covered in copper, a metal highly valued in
Textured the olden days. The Orca Chief was rich, powerful and feared by mortals.
2.5 x 1.75” This jewelry version is the smallest of the Orca Chief series that I’ve
created in different mediums. The gold, and application of different techniques to
5 make it into a small sculpture, with various inlays added, makes this piece fit for the
lavish persona due to an undersea Orca Chief clad in all his finery. The orcas we
see swimming today are considered by some to be descendants of the historical,
myth-time Orca Chief.

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9. Black Bear Pin/Pendant 10
18K Yellow Gold, Abalone Shell
Repousse, Chased, Engraved, Textured 11
1.5 x 1.25”
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10. Eagle Copper Pin/Pendant 6
18K Yellow Gold, Abalone Shell
Repousse, Chased, Engraved, Textured
2 x 1.25”

11. Miya (Salmon) Brooch
AP Edition I/I
18K Yellow Gold, Abalone Shell
Cast, Engraved, Textured
1 x 2.75”

12. Miya (Salmon) Brooch
Edition of 15
18K Yellow Gold, Abalone Shell
Cast, Engraved, Textured
1 x 2.75”

Gold

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14. M̓ um̓ ug°azu (Halibut) Earrings 17. A-Orca Pendant
18K Yellow Gold 18K Yellow Gold
Engraved, Textured Engraved, Textured
1 x 1” 0.5 x 0.5”

15. Bentwood Box #2 Pendant 18. Mamiya (To Fish) Earrings

17 18K Yellow Gold 18K Yellow Gold

Engraved, Textured Engraved, Textured

1 x 0.75” 1.5 x 1”

13. Mamiya M̓ um̓ ug°azu 16. Bentwood Box #1 Pendant 19. Ka̓ ka̓ na (Hummingbird) Earrings
(Halibut Fishing) Pin/Pendant 18K Yellow Gold 18K Yellow Gold
18K Yellow Gold Engraved, Textured Engraved, Textured
Engraved, Textured 1 x 0.75” 1.5 x 1”
1.5 x 1.5”

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20. Q̓ °olsqe̓ xd̄ a (Otter) Pendant 21. Taq°̓ a (Octopus) Pin/Pendant
18K Yellow Gold 18K Yellow Gold
Engraved, Textured Engraved, Textured
1.5 x 1.25” 1.5 x 1.5”

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23 22. Taq°̓ a (Octopus) Earrings 24
25 18K Yellow Gold
Engraved, Textured 24. Iksduq°iya (Eagle) Earrings
1 x 1” 18K Yellow Gold
Engraved, Textured
23. Ḡax̄ (Raven) Earrings 1 x 0.5”
18K Yellow Gold
Engraved, Textured 25. Lure Earrings
1 x 0.5” 18K Yellow Gold
Engraved, Textured
0.75 x 0.25”

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Gold

The Ovoid Eyespot Series 28

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27 26. Ovoid Eyespot #3 Pendant: Human
18K Yellow Gold, Abalone Shell

Repousse, Chased, Engraved, Textured

1.25 x 1.25”

27. Ovoid Eyespot #4 Pendant: Butterfly 28. Ovoid Eyespot #5 Pendant: Human
18K Yellow Gold, Abalone Shell 18K Yellow Gold, Abalone Shell
Repousse, Chased, Engraved, Textured Repousse, Chased, Engraved, Textured
1.25 x 1.25” 1.25 x 1.25”

29. Ovoid Eyespot #6 Pendant: Human
18K Yellow Gold, Abalone Shell
Repousse, Chased, Engraved, Textured
1.25 x 1.25”

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30. Ovoid Eyespot #2 Pendant: Salmon 31
18K Yellow Gold, Abalone Shell
Repousse, Chased, Engraved, Textured The Ovoid Eyespot Series
1 x 1”
or this series, the inspiration came from thinking about the eyespot markings
31. Star Face Pendant on the wings of young skatefish; as such markings are credited with the
18K Yellow Gold, Abalone Shell beginning of the famous Pacific Northwest Coast (PNC) Ovoid. The original
Repousse, Chased, Engraved, Textured markings are solid black spots, encircled by a fine line.
1 x 1” I wanted to use the same circular format as a young skatefish’s
markings as traditionally as can be, but with variations on each face. There’s
32. Ovoid Eyespot #1 Pendant: Salmon a strong “pull” that keeps an artist coming back to the more traditional,
18K Yellow Gold, Abalone Shell straightforward depictions of PNC faces. To those of us who grew up
Repousse, Chased, Engraved, Textured hunting, gathering and fishing, I think such a “pull” is connected to that
1 x 1” traditional upbringing; and that sort of familiarity makes us want to go back,
just to remind us of our roots again.
In Lyle Wilson’s essential Ovoid Eyespot series, he has created
“faces” illustrating both human and crests figures represented as the Butterfly
and Salmon.
The Butterfly, although a minor crest figure amongst coastal
Nations, signifies metamorphosis, freedom, grace and balance. It exemplifies
the beauty of nature and is often considered a helper or messenger,
especially to the Raven.
Salmon are honoured and celebrated by all coastal peoples, and
serves as a powerful symbol of regeneration, self-sacrifice and perseverance.
It is believed that Salmon were actually people with eternal life who lived in
a large house at the lower depths of the ocean. In spring, they put on their
Salmon disguises and offered themselves to humans as food.

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Gold Silver 33. Qolun (Beaver) Pin/Pendant
Edition of 14
18K Yellow Gold, Abalone Shell
Cast, Engraved, Textured
1.5 x 2”
34. Qolun (Beaver) Pin/Pendant
Edition of 14
Sterling Silver
Cast, Engraved, Textured
1.5 x 2”

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35. Halx̄inix° (Orca) Pendant 36
18K Yellow Gold, Abalone Shell 2
Repousse, Chased, Engraved, Textured
2 x 2”

36. Halx̄inix° (Orca) Pendant
Sterling Silver
Repousse, Chased, Engraved, Textured
2 x 2”

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37. Nag°aci (Moon) Pendant 39. Ḡ°ye̓ m (Whale) Pendant
Edition of 9 Sterling Silver, Abalone Shell
Sterling Silver, Abalone Shell Repousse, Chased, Engraved, Textured
Cast, Engraved, Textured 1.75 x 1.75”
1.75 x 1.75”

38. Sax P̓spi̓ yu (Grizzly’s Ear) Pendant 40. Iksduq°iya (Eagle) Pendant
Sterling Silver, Abalone Shell Sterling Silver, Abalone Shell
Repousse, Chased, Engraved, Textured Repousse, Chased, Engraved, Textured
1.75 x 1.75” 1.75 x 1.75”

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Silver

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41. The Lonely Miya Pendant 43.1962 Canadian Silver Dollar Coin The Lonely Miya
Sterling Silver, 18K Yellow Gold Deeply Sculpted, Engraved, Textured
Repousse, Chased, Engraved, Textured 1.5 x 1.5” Pendant
1.5 x 1.5”
44. 1976 Montreal Olympiad Five Miya means Fish or Salmon in the Haislakala language.
42. 1976 Montreal Olympiad Five Dollar Silver Coin In 1998, I made a bracelet called “The Lonely Salmon”
Dollar Silver Coin Deeply Sculpted, Engraved, Textured and I always meant to make a brooch companion piece
Deeply Sculpted, Engraved, Textured 1.5 x 1.5” but somehow the time never seemed right. “The Lone-
1.5 x 1.5” ly Miya” is my latest version that continues the theme of
our decimation of the salmon stocks. The salmon was
view the complete collection once so numerous that the old people say a river could
in person or online at COASTALPEOPLES.COM be crossed by “walking on the salmon backs, without
getting your feet wet.”
Trophy Decades ago, while commercial fishing on a
large boat with a 5-man crew, and using a long, long
Pendant net, we caught one salmon! Our captain said, “That’s a
lonely salmon!”
This pendant is an example of the traditional Pacific Northwest Coast formline
style being adapted to show a relatively modern event. About 30 years ago, my Ḡax̄ & New Moon
uncle G’psgolox (Dan Paul Sr.) took me to visit some Tsimshian relatives at their
fishing camp, which was located way out, and close to the open ocean. G’psgolox Pendant
stayed in his bigger boat while a Tsimshian friend took me trolling in a small boat.
Using a rod and reel, we hooked the biggest spring salmon that I’ve ever caught – This pendant was inspired by two slightly separated
over 40 pounds. The size of that salmon has remained in my mind ever since and events. While at the beach during a late afternoon, I
so I memorialized that event in this silver coin. watched a raven hopping around and hunting for
The silver coin is thicker than standard silver stock, so it allows me to something to eat on the beach. Shortly afterwards, as
carve extra deep to give a sculptural look to the pendant. The pendant’s back is daylight faded rapidly to dusk, a new crescent moon
left as is to show its beginnings as a coin. became visible. It was beautiful and reminded me of
Raven’s role in releasing the Ball of Light.
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45. K°ik°na̓ x̄ (Frog) Pendant 46. Ḡazax̄ (Cross/Starfish) Pendant
Sterling Silver, Amber Sterling Silver, Amber
Engraved, Textured Engraved, Textured
1.75 x 1.75” 1.75 x 1.75”

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47. Miya (Fish) Pendant 48. Two Frogs Pendant
Sterling Silver, Amber
Sterling Silver, Amber Engraved, Textured
2.5 x 2”
Engraved, Textured
49. K°ik°na̓ x̄ (Frog) Pendant
2.5 x 2” Sterling Silver, Amber
49 Engraved, Textured
2.5 x 2”

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Silver 50. Ḡ°ye̓ m (Whale) Bracelet
Sterling Silver
Engraved, Textured
1 x 6.25”
51. Thax°an (Red Snapper) Bracelet
Sterling Silver
Engraved, Textured
1.25 x 6.25”
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52. Bag°ana (Skatefish) Bracelet
Sterling Silver
Engraved, Textured
52 1 x 6.25”
53. M̓ a’alox° Miya (Two Salmon)
Bracelet
Sterling Silver
Engraved, Textured
1 x 6.25”

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54. After the Ancients Bracelet
Sterling Silver
Repousse, Chased, Engraved, Textured,
Hinged with Catch
1.25 x 7” (inside)
1.25 x 8.25” (outside)

After the Ancients 54
Back
Bracelet

Exploring one’s roots brings a healthy appreciation of one’s place in the scheme of things. The
Pacific Northwest Coast (PNC) formline has undergone changes over the passage of time. What I
wanted to do was to pay homage to that earlier, cleaner, straightforward, massive look of PNC art
because it captures the sense of that era’s time. I learned from what work they left behind and so
it impacts the work I do today.
In this bracelet, a mixture of modern techniques - repousse, chasing, engraving,
texturing, fabrication - has been added to a deceptively simple facial image that’s present on
early traditional bent-boxes; a face thought to represent a supernatural guardian of any treasures
contained within the box.
For me, and for this exhibition, this style of PNC imagery depiction on a bracelet
seemed to be something that had a sense of inevitability because I have such admiration and
respect for ancient PNC artists.

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Silver

55. Young Iksduq°iya (Eagle) Pendant
55 Sterling Silver, 18K Yellow Gold

Cast, Engraved, Textured
2 x 2 x 0.5”

56. Haislakala? Bracelet
Sterling Silver
Engraved, Textured
2 x 7”

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Haislakala?

Bracelet

Haislakala is the name of our endangered traditional language. First Nation languages, including Haislakala, were discouraged once Europeans
started settling British Columbia. A policy of assimilation was instituted for Natives that survived earlier epidemics, and so the English language came
to dominate life, trade, school and politics.
My ancestors accepted that the Haislakala language was an impediment to the succeeding Haisla generations, so they never bothered to
teach it to us, and we never demanded to learn it. Like many of my generation, I grew up hearing the elders speaking Haislakala, so we can recognize
but not understand more than a few words.
I have decided to consistently pursue learning Haislakala and include it in my life and artwork. Accordingly, all along the top of this
bracelet is the word “Haislakala,” and the bottom is divided into 3 parts: one side has the word “Raven,” while the Haislakala translation, “Ḡax,̄”
appears on the opposite side. In the middle is a split-Raven and emerging “Ball of Light.” Basically, it’s a metaphor for my goal of incorporating the
Haislakala language into my life.

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57. Iksduq°iya & Qolun
(Eagle & Beaver) Box
Sterling Silver
Engraved and Textured on
Hollow-ware
4.25 x 4 x 4”

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Iksduq°iya & Qolun

(Eagle & Beaver) Box

My father’s Eagle Clan adopted me, but I was actually born into my mother’s Beaver Clan. Since the Haisla followed a matrilineal system, whereby
every child was automatically included into its mother’s clan, my unusual adoption was due to the circumstances of the Eagle Clan having so many of
its members die. Due to the early and unfamiliar diseases, everyone feared the clan would eventually become extinct.
I’ve always loved the look of a full-size, traditional wooden bent-box and liked the idea of a smaller, silver box using the same traditional
proportions. It adds a unique sculptural look to any small box which, once seen, becomes a more appreciated detail with every subsequent exam-
ination. The box’s construction technique is very deceptive; it looks solid but is actually a box-within-a-box, with the hollow spaces between each
“box” allowing for visually thicker walls. For this box, I decided to honor my connections to both Haisla Clans - Beaver and Eagle - by engraving each
on one-half of the box. The box’s lid has another Eagle engraved on the top, and the Halibut, a sub-crest shared by both clans, is engraved around
the edges.

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Mixed Media Eulachon Canoe Mountain

My first experience actually seeing traditional carving in situ was fishing
eulachon at Kemano. I saw graveyard memorials (ah-aluuch-tin): grey,
weather-beaten and somewhat moss-covered, but very impressive in
their natural state and site. Although I didn’t know it at the time, it was
part of the beginning of my life-long interest in Haisla culture.
At Kitamaat, there is a mountain that has a dip in its outline
which the Haisla liken to a canoe. When the sun set in this “canoe-dip,”
that signaled that the eulachon were about to spawn in the Kitamaat
River and all the Haisla eagerly awaited them!
The wildlife that also pursued eulachon was a true natural
phenomenon: eagles, seals, sea lions, crows, ravens, seagulls, otters,
mink, sawbill ducks, halibut, porpoises, bullheads, and undoubtedly
many others one couldn’t see! All of these creatures are represented in
one image; a raven, seagull, sea lion and bullhead are shown, each with
an eulachon close to their mouths.

58. Eulachon Canoe Mountain
Intaglio Print
58 Edition of 50
13 x 11.5” (paper)
7 x 5.25”” (image)

Soapberry Spoon

These 3 soapberry spoons are small pieces of wood that would normally be thrown away Back
by anyone else except a woodcarver. Like most carvers, I can’t bear to throw away perfectly
good pieces of wood and these 3 particular pieces have been with me for 15+ years before I
started to carve them. Soapberries are beaten into foam and were the traditional dessert for
Pacific Northwest Coast people. The soapberry “spoon” has no bowl and resembles the flat
blade of a miniature paddle. The soapberry-foam was served in a bowl and guests used the
flat blade to dip into the bowl.
Just the plain shape of a soapberry spoon is an elegant sculptural form; when
embellished with carvings, the spoon becomes elevated to the status of a very beautiful ob-
ject. The embellishing on the 2 yellow cedar spoons are Ravens and Moons. The 3rd spoon
is decorated with a salmon and carved from maple wood, which was a traditional wood used
for spoons because it imparted no taste to the food being served.

59. Salmon Soapberry Spoon
Maple wood
7.25 x 1 x 0.25”

60. Raven Soapberry Spoon
Yellow Cedar wood, Abalone Shell
12.5 x 1.5 x 0.75”

61. Sun, Star & Raven Soapberry Spoon
Yellow Cedar wood, Abalone Shell
12.75 x 1.5 x 0.75”

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59

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Nuch-Noo-Sem-Ghet Pole 62
20
This tusk was part of an age-old, traditional, and still on-going
trading relationship with others. In this case, with some Inuit
hunters my sister met while she was working at the Ekati diamond
mine in the 1980’s. It took me a long time to get around to
creating something out of it because carving large pieces of ivory
is something new to me and I wanted to do justice to the material;
being a hunter myself, I know well the reality of an animal giving
its life up to sustain humans.
I’ve looked at this piece of ivory many times over the
years, seeking some sort of inspiration. I’m glad it took so long
because I finally realized that my own experience with the many
life forms in our waters should be the guiding force for this piece
from a majestic marine animal. Accordingly, I used a traditional
story that came to the Haisla via inter-marriage from the Tsimshain
speaking people. It tells of an under-sea, supernatural chief
capturing a high-ranking wife. The woman was brought to the
Orca chief’s underwater big-house and her husband eventually
rescued her.
What I wanted to show was various underwater life
forms of British Columbia: the octopus, starfishes, crab, clam,
cockle, mussel, sea cucumber, halibut, cod, abalone, barnacles,
seal, sea lion and sea anemone. I had fun creating a new approach
to this traditional tale.

62. Nuch-Noo-Sem-Ghet Pole
Walrus Tusk, Abalone Shell,
Walnut wood base
16 x 5 x 5”
Back

Mixed Media

63 64

65 66

63. Kemano Soulcatcher 65. Sealion Sculpture
Bone, Abalone Shell Marine Ivory tooth, Abalone Shell
1 x 4.25 x 1” 3 x 0.75 x 1.5”
6.5 x 2.25 x 5.75” (including base) 6 x 3.25 x 3.25” (including base)

64. Raven with Salmon Sculpture 66. Ovoid Origin Sculpture
Marine Ivory tooth, Abalone Shell Walrus tusk, Yew wood,
3.5 x 1 x 2” Abalone Shell
7 x 3.25 x 3.25” (including base) 3.75 x 2.75 x 1.25”

Back

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Chillakoons Pipe 67

This is the story of 3 young men who mistreated
a supernatural frog while out fishing for trout in
a stream. They ended up throwing a frog into a
fire and its supernatural mother cursed them. As
a result of the curse, they died, one by one, as they
paddled back to their village.
While the original story may be traced
back to either the Tsimshian or the Haida, both
a totem pole and the right to use the story was
a Haida Eagle chief’s peace offering to the Haisla
Eagle Clan. Although the Chillakoons story had
many characters, the old Chillakoons totem-pole
that stood at Kitamaat was relatively simple;
it displayed a man on the top, a halibut in the
middle, and a frog at the bottom.
For this Chillakoons pipe, I added
abalone inlay, ivory, yew and yellow cedar woods,
as well as more characters, including a man,
cormorant head, 2 frogs, halibut and a tiny, old-
style canoe.

67. Chillakoons Pipe
Yew wood, Yellow Cedar wood,
Abalone Shell, Ivory
12.75 x 2 x 2.25”
8 x 4 x 11.25” (including base)

Back

Copyright Coastal Peoples Fine Arts Gallery 2016, Photography by Kenji Nagai, Design by Lynn Chen, Printed in Canada 22

68. Raven & Halibut Box
Yellow Cedar wood, Abalone Shell
4.5 x 4.25 x 4”

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