Last week, I flew into Terrace to attend the end exhibit at the Freda Diesing School of Northwest Coast Art.
Of the four year end exhibits I’ve attended, this years’ was the weakest, with the fewest number of pieces on display and the lowest quality, but there were compensations. The show was partly a reunion of alumni, with former students such as Mitch Adams, Latham Mack, John Wilson, and Carol Young in attendance. And, as always, Waap Galts’ap, the longhouse on the campuse of Northwest Community College in Terrace, made for a setting that was both aesthetic and relaxing.
Nor was the show entirely lacking in pieces worth lingering over.
Larry Darrick displayed an abstract panel design that was all the more striking for being in black and white:
Darrick’s “Boogie Mask- Myth of Hairy Man, Bigfoot & Boogie Mask” was also worth a second look for its use of woven cedar for its mess of hair, although its copper nostrils and eyebrows seemed more elaborate than the simplicity of the carving would justify:
Among the spoons and bowls, the painting and lines of Lyle Mack’s “Transformation Spoon” was noticeable, so much so that I found myself wishing he had finished a mask or a painting for the show:
I was especially pleased to see that some of the high-quality work was done by last years’ winners of the Mature Student Award, which I sponsor. Barry Sampare, last years’ winner, showed more attention to detail and finish than most students:
Similarly, Evan Aster, who last year received an Honorable Mention for the Mature Student Award, displayed the same attention to the painted design as in last year’s exhibit to produce a mask of mildly eerie paleness:
Similarly, last year’s other Honorable Mention, Moses White, produced the strongest work of his that I’ve seen to date in “Oil Stained Warrior – Blood will spill before oil.” White’s mask had one side slightly higher than the other, but managed to be eye-catching just the same.
One of the standouts of the show was Nathan Wilson, who has already had some commercial success in the galleries. His “Defend the Village: Warrior Mask” seemed to show traces of the influence of John Wilson, with whom he worked privately in the past, but the boldness of design, as well as the mixture of materials (alder, horse hair, abalone, cedar bark, acrylic) was a a rare example of embellishments not overwhelming the design:
My only regret was that Wilson was not displaying more in the show.
First year student Jared “Citizen” Kane was another standout, with prints that were somewhat lacking in detail, but intricate enough that I bought both of them:
Still another standout was Paula Wesley, who plans to continue her art studies at Emily Carr next September. Although Wesley’s carvings looked a little rushed, and were not her best work, her two-dimensional pieces showed a pleasing discipline of line and a complexity of design, as in her “Releasing the Light”:
Wesley also created one of the strongest pieces in the show, a family box design that, had it been for sale, I would happily have bought:
However, pride of place in the show literally went to Kelly Robinson. Already a professional jeweler and painter, Robinson showed that he is equally promising as a carver. The central area of the exhibit was dominated by a display case with a spoon by Robinson, while two of his masks hung facing each other on either side:
In addition, Robinson’s painting, “Box Design (The 4 Carpenters)” hung at the main entrance of the longhouse, and was the most accomplished piece of the entire show:
The title refers to what might be called the celestial contractors in Nuxalk mythology who were charged with making the sun and other aspects of the world. The painting has a boldness and a mixture of traditional and contemporary that many visitors to the show admired, and I am proud to say that it will soon be on my living room wall.
With such artists as Kane, Robinson, Wilson and Wesley, the show was still worth seeing, and, as in past years, both the students and instructors couldn’t have been more welcoming. I look forward to seeing what the grads do next (and maybe buying more of their work), and how the first year students improve after another year of instruction.