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Archive for the ‘Salish’ Category

Which upcoming First Nation artists in the Pacific Northwest are worth having a look at? Giving an answer is not easy, because traditional art forms and contemporary variations are thriving as never before.

Still, if I had to give answer, these are the seven artists I would tell people to look for. Many post their work on Facebook, or somewhere else on the Internet:

  •  Mitch Adams (Haida): Adams has made a specialty of miniatures – everything from masks to combs and usable pipes – and of exploring different kinds of woods – including ebony and laminated blocks in which the layers substitute for paint. However, his best work so far has been in carving sculptures about thirty to forty centimeters high.
  •  Morgan Green (Tsimshian): Many Northwest Coast artists show versatility, but few can match Green. Her work includes cloth and leather design, wood carving, ceramics, and, more recently, metal work. Although in the past she seemed more interested in experimenting with new media than in developing her art, for the past couple of years, she has focused on jewelry and metal sculpture.
  •  Latham Mack (Nuxalk): Mack first attracted attention at the Freda Diesing School for his design work. However, since graduating, Mack has continued to apprentice with Dempsey Bob, and his discipline and carving is starting to reach the same standards as his designs.
  •  Kelly Robinson (Nuxalk, Nuchunulth): Robinson began as a painter, but since branched out into jewelry and carving. His work in both of his traditions has a strong sense of individuality, but in Nuchunulth style, he has the distinction of being one of the first to treat his subject as high art, rather than historical re-creation.
  • Todd Stephens (Nisga’a): As a carver, Stephens still needs practice, but few artists of any experience can match him as a designer. Study the details of his paintings, such as the different ways that the join of two formlines is thinned out, and you will soon know most of what you should be looking for.
  •  John Wilson (Haisla): Primarily a carver, Wilson is known for the speed with which he can finish high-quality masks. More recently, he has landed commissions for corporate logos and artwork. He is rapidly becoming the best Haisla artist since Lyle Wilson, but, right now, his work is extremely reasonably priced.
  •  Carol Young (Haida): The first winner of the Freda Diesing School’s Mature Student Award, Young first emerged as an artist to watch during her second year at the school, when she started doing naturalistic, unpainted masks. Since then, she has gone from strength to strength with more traditional carvings, some painted, some not. Once or twice, she has introduced female themes into her work.

Other artists who are less successful (so far) but still worth searching out include:

  •  Sean Aster (Tsimshian): Aster is one of the strongest designers who has graduated from the Freda Diesing School. Unfortunately, he does not seem to have marketed his work as well as it deserves.
  • Cody McCoy(Salishan): McCoy has won two YVR art awards, but he is marketing his work in both First Nations galleries and in mainstream shows as surrealism. The best of his work is strikingly original, with traditional forms half-hidden in the thick, restless brush strokes.
  •  Colin K. Morrison (Tsimshian): Morrison is an outstanding carver. However, he only produces a few pieces a year, so the danger is that he might eventually choose another way to earn a living.
  •  Chazz Mack (Nuxalk): Well-known for his design work, Mack seems to do much of his work for family and friends, instead of making many attempts to develop his reputation.
  •  Nathan Wilson (Haisla): Wilson’s high-standards of craft are obvious, but his design sense is sometimes no more than adequate and could use more individuality. However, sooner or later, I expect consistently strong work from him.

Neither of these lists is anything like complete. There are always promising artists whose work does not appear in Vancouver or Victoria, or in galleries anywhere, so I am sure to have missed some. If so, my apologies – chances are, my ignorance explains any omissions, not any judgment of quality.

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Mostly, I know the work of Salish artists John and Luke Marston from pictures. These days, they seem to be working largely on commissions, and such smaller work as they do is displayed mostly in galleries in Victoria. The few I’ve seen have been mostly at the Inuit Gallery, which has now taken the next step of hosting a show with some two dozen pieces entitled “Honouring the Ancient Ones.” I attended the opening of the show last Saturday, and I was appreciative of the skill I saw there, but a little taken aback by the prices.

The two Marstons are often spoken of in the same breath. Even if they weren’t brothers, that would be inevitable, because both begin in with the Salish tradition, often base works on historical artifacts, and show considerable promise as carvers. However, if you see “Honouring the Ancient Ones,” you are unlikely ever to mistake them again.

Assuming the show is any indication, John Marston favors boxes and rattles.

jm-box

jm-rattle

When he does a mask, it is generally on a stand.

jm-mask

Throughout his work, he shows a strong sense of line – something that loosely resembles the formlines of the northern first nations on the coast, but which follows few of its rules with any consistency.

jm-formline

The result is a body of work that is hauntingly familiar, yet fresh at the same time.

By contrast, Luke Marston seems interested in carving household goods, such as bowls and ladles.

lm-bowl

lm-ladle

He is also the maker of the only two bracelets in the show, although his metalwork skills seem less advanced that his woodcarving ones.

lm-bracelet

He also seems more interested in masks than his brother, including a transformation mask and a contemporary piece called “First Woman,” whose depiction of a woman’s face in the flames was for me the highlight of the show.

lm-first-woman

None of his work shows the same focus on line that his brother’s does, but – at least in this exhibit – he seems more interested in the historical roots of his art, citing several times in the catalog that various works are his rendering of a museum piece.

Both artists are worthy of admiration, but I know that the prices they are charging are causing some concern among Northwest Coast artists and galleries. There is an unspoken understanding that artists’ prices reflect their experience, and many people feel that neither Marston has paid enough dues to justify their prices. When I say that Luke Marston’s “First Woman” mask is in the same price range as master and elder carver Norman Tait, you will understand what I am talking about. I even know one gallery that decided against trying to host a show of the Marston’s work because its curators decided it could not afford the initial outlay of buying such expensive pieces.

On the one hand, this criticism has some justification. John and Luke Marston are outstanding carvers, but they are still relatively young and, for all their promise, they are still perfecting their skills. Not that anything is wrong with their finishing skills, you understand, but when you compare them to those of someone like Ron Telek or Stan Bevan, you can see that Marstons still have things to learn. For example, neither shows a strong sense of the grain, and their matching of abalone inlays while adequate, is not always as close as it should be.

On the other hand, the Marstons can obviously receive the prices they are asking. Despite the recession, sales were brisk at the opening. As I write, three days into the show, two-thirds of the works on display have sold, including some of the most expensive.

Judging from the crowd, I suspect that one reason they can charge as they do is that they are breakout artists – ones whose appeal extends beyond the usual Northwest Coast collectors and enthusiasts and appeal to the local mainstream art crowd. You might wonder if their work will increase in value as quickly as other artists’ given its initially high prices, but what are they supposed to do – deliberately undercharge what the market will bear? That seems too much to ask of anyone.

In the end, I decided the question of their pricing was secondary (especially since most of their work was beyond my bank balance). The way the Marstons are developing, the issue is likely to become moot in another five to ten years as their skill is generally recognized.

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