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Biography on George James jr.
Born and raised in Vancouver B.C. George comes from a long line of carvers.He is of Kwaguilth descent . His father is the late George James sr.
A master carver from the Alert Bay area. George James jr. studied under well known carvers, David Knox, Trevor Hunt and Mervyn Child. He has works hanging in various gallerys in the U.S. and Canada. |
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Stan Hunt is a Tsakis Kwagiulth artist from Fort Rupert on Vancouver Island. A member of one of the first families of Northwest Coast carving, Stan was born in 1954. His grandfather Mungo Martin and his father Henry Hunt worked at the Royal Museum of British Columbia reviving the art that had been prohibited by the Canadian Government for nearly 70 years. Stan's brothers Richard and Tony Sr. are well known carvers who mentored him early in his career.
Stan is a member of the Hamatsa society and dances in the potlatch ceremonies for the Hunt family. In 1976, he apprenticed himself to his father, who first required him to make his own carving tools. Over the next three years, he assisted his father on six totem poles. In 1980, he and his brother Richard Hunt restored a 65-foot pole that had been created by his father for the Montreal Expo in 1967. In the fall of 1998, Stan will return to work on the pole again.
Stan carved his first totem pole in 1982 a commission by author Jean Auel (The Clan of the Cave Bear and continuing series). He is equally renowned for his miniature totems and masks, and has produced limited edition prints and bronzes. Stan's interpretation of the Kwagiulth style is starkly traditional. No power tolls or sandpaper are used. Only traditional tools the adze, straight knife, and curved knife are utilized. The images are original but with traditional roots in the stories of the Kwagiulth people. |
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David creates many types of native artwork. As one of the only blood descendants of the renowned Chief Mungo Martin, he comes from a unique culture, including a great line of Hereditary Chiefs, Master carvers and skilled dancers.
He began doing traditional art in 1991 apprenticing under his uncle Tony Hunt Sr. and his cousin, Tom Hunt. 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 David greatly and this shows in his artwork. His goal is to carry on these family traditions.
" When I was a little boy, I use to wonder why I was dancing around a fire in the Big House. I was in my mid-teens when I really sat down and thought of who I was and where I came from. Just knowing all the stories my great grandmother use to tell me and teach me how to dance the Hamatsa in her kitchen, as well as learning all the preparation in a potlatch and in feast gives me great pride and more understanding of who I am and where I come from, which is a big responsibility and everyday, a learning process.
When I go to harvest the big red cedar tree, I say a thanking to the mighty creator for giving me the tree and making me sure I will use the entire tree. The tree can be used to make shelter, cloth, tools, rope, canoes, masks, totem poles, crest poles, memorials poles and welcome figures.
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.
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". |
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Paddy Seaweed (b. 1955) was born in Alert Bay, off Vancouver Island. Paddy is the son of a master wood carver and is a distant relative of the famed artist, Willie Seaweed. Paddy was taught engraving by Lloyd Wadhams of Kingcome Inlet. His work is found in galleries and private collections in Canada and the United States. |
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Born 1931 on Sandy Lake Reserve in northwestern Ontario, Norval Morrisseau almost died of illness as a small boy. His mother took him to a Medicine Woman who gave him the powerful Ojibway name Copper Thunderbird to give him strength. Many elders in the tribe were outraged that such a young man was given such a powerful name. He beat the fever and grew up to become a World Class painter. He now signs all his work using his native name Copper Thunderbird using Cree syllabics taught to him by his Cree wife.
Norval Morrisseau is an Ojibway Shaman who paints the images that come to him in dreams. He was introduced to Toronto art gallery owner Jack Pollock while while Pollock was traveling through Northern Ontario in 1962. Pollock took him to Toronto where Morrisseau's first one man show sold out on the first day. His work now hangs in major galleries around the world. He is a world class artist and is considered the founder of a unique style of native art.
Morrisseau was dubbed the "Picasso Of The North" of Native Art by the French Press in 1969 and is considered one of the most innovative artists of the Century. Unlike Picasso, Norval Morrisseau developed a unique style of art back in the bush with no connection to European style and influence. He is considered The Founder of The Woodlands School of Art which has also been called Legend Art or Medicine Art as the images are agents for healing or reflect many of the secret legends known only within the Ojibway and Cree Tribes. With his apprentice and friend, fellow artist Carl Ray (a Cree artist from Sandy Lake) they were the pioneers of this fresh style of art. Both were commissioned by the Canadian government to paint the large mural for The Natives of Canada Pavilion at Expo 67 in Montreal.
Norval Morrisseau was awarded The prestigious Order Of Canada Medal in 1978 by the Governor General of Canada for his contribution to Canadian Art. He was the only Canadian artist invited by France to contribute and show his work at their Bicentennial Celebration in 1989. While in Europe he toured the galleries to see the works of Master artists only to think their work was too dark and somber . He returned to paint in even more vibrant colours and abstract shapes.
He almost died in a hotel fire in 1972 in Vancouver but recovered from the burns and healed enough to paint again. He adopted Christianity around that time and a number of his paintings in the '70's reflected this belief in the Lord as the Savior. In time the Lord and Native Shaman shared the same place and power. Morrisseau believes in astral travel and has demonstrated a belief in Eckanar since.
Norval Morrisseau is considered the Grandfather of the Woodlands Style and the most popular of what has been dubbed "Canada's Native Group of Seven." He is now a world class artist.
Norval Morrisseau is a self professed Ojibway Shaman who paints the visions that come to him in dreams. While he is considered the Founder and Cornerstone of the Woodlands School of Art, also called Legend or Medicine Painting, other members of this "Native Group Of Seven" have their work on Redkettle site such as Carl Ray and Joshim Kakegamic. Their influence continues to affect the art being done by young native artists today considered to be "Woodlands- the next generation". |
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Betty Joe was born in Duncan, B.C. in 1967 and was raised in the Cowichan Valley. She takes the Sea Wolf as her family crest. Mostly self-taught, her introduction to carving began when she was 14. She is the single mother of two boys who are quickly picking up on their mother's talents.
As a member of the Cowichan Tribes, Betty Joe takes great pleasure in carving. Every artist has someone they look up to and admire as a role model or respect for their artistic talent and for Betty Joe, that person is Dempsey Bob, of the North West Interior.
Betty Joe enjoys creating portrait masks of Shaman, Human or 2 and 3 dimensional masks. Her expertise also ranges in doing carvings of bowls of the Raven, Eagle and Frog and also now creates up to two foot (2') Human Figurines. Betty's artistic carving skills are currently expanding, and she is now creating Animal Pendants or Broach Pins, Little Eagle Feathers and Paddles. She uses Alder, Red Cedar, Yellow Cedar and Pine Wood for all of her carvings. |
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Jason Hunt was born in Victoria in 1973 and is of Kwaguilth descent, from the village of Fort Rupert, near Port Hardy B.C. on Vancouver Island. After graduating from high school in 1991, Jason went on to pursue his post secondary education in the field of bussiness administration at Camosun College. It was after completing his thrid year of college that Jason became intrigued with his family's artistic heritage. While watching his father, artist Stan Hunt, design and carve traditional pieces Jason became more interested in the craft. When he tried to carve he found he had a natural connection that has been passed down through generations of the Hunt family.
Jason's lineage strongly influenced his decision to expand his knowledge of his family's artistic history and under the tutelage of his father Jason began to explore the distinct culture and art form of the Kwaguilt people. He strives to maintain the integrity and authenticity of his work by being well versed on the significance of each piece. Jason is prepared to offer explanations of his work with reference and the legends behind each of the figures he incorpoates into his work.
Out of respect for traditional methods,Jason limits the use of power tools that rough out the piece and knife finishes his work as opposed to using sandpaper. He plans to continue enhancing his skills and knowledge under the direction of his father and hopes to move on to larger pieces with his goal being the completion of his first totem pole. |
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In 1985 Justin was 21 and planning a career as a mechanic, but the automotive program was full. His father, being actively involved in west coast native communities, introduced him to Ray Dumont, a local native artist, and Ray suggested he try carving.
Through the 90’s, Justin carved part time. The rest of his time was spent working in different BC art galleries, deepening his understanding of the art world, and interacting with local artists. Today, demand for Justin's work has grown to the point where he carves full time.
Justin's style has a combination of influences. He was born and have lived his whole life on the west coast of British Columbia, and his native ancestry is Cree. He fluctuates between west coast and plains styles. Each offers its own unique quality, stories and history. "When I create a new piece, I always picture the wearer in mind. My job is to produce jewellery that makes the wearer feel good. Many of my favorite pieces came from custom requests, because I had a specific wearer in mind, and was able to shape the piece to that person’s personality and taste.
I never would have guessed that I would enjoy carving so much. There is something incredibly satisfying about a craft that combines the delicacies of design with the power of carving with the technique of assembly.
I enjoy experimenting with materials. I work in gold and silver, and combinations of the two. I work with precious and semi-precious stones, in a variety of settings. I love finding the perfect way to combine stylish, modern jewellery designs with traditional native art." |
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Ken Loo was born in 1950 in Standoff, Alberta, Canada. Ken is a member of the blood tribe of the Plains Indians. Ken has been carving silver and gold jewellry since 1980. He has apprenticed under such master Northwest Coast Native artists as Russell Smith, Beau Dick and Barry Wilson. Ken specializes in depicting Eagle feathers, which is a symbol of both power and prestige, as well as peace and friendship. The Eagle feather is still considered sacred both by Westcoast and Eastern Nations alike. Ken's simplicity of form and superb lines has drawn many collectors to his artwork. |
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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 true gitxsan native with the Kitwanga band (which means people of the rabbit)later registered with Gitanmaax band in Hazelton,where he resides today. Danny's art reflects the beauty of his homeland combining his past with his present-day experience. His art is sought after world wide. 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 jewellery. 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. |
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Derek Christian Heaton was born in 1970 into Mik'maq ancestry. He was adopted by a Norwegian mother and Canadian Father. Growing up in rural Quebec, he discovered a love for nature. Since the age of four he was drawing his natural surroundings, and at the age of nine was the recipient of a Canada-wide scholarship from McGill University for a winning brochure design.
In 1998, Derek started on a journey of self discovery and healing through his Native ancestral roots and his inspirations in Northwest Coast Native artists Willie Seaweed, Art Thompson, Clifford George and Tom Paul. His natural gift of carving has garnered acceptance and recognition from the famous Seaweed family, and his masks have been danced at Haida potlatch ceremonies where he received the name 'Cocky Raven', meaning a wealth of charismatic personality. His greatest passion is painting. His work has a touch of genius as they are all his own imaginative designs.
Heaton's work has been featured in several magazines and exhibited in select galleries including renowned Tribal Spirit Gallery and Appleton galleries. HIs work has also been recognized by Science World's exhibit of First Nations Carvers.
Derek works in many mediums and forms, creating Totem Poles, Masks, Talking Sticks, Sculptures and Jewelry. "My future goals are to continue my journey and see what vision speaks to me". |
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My Native American ancestry is through the Gitksan tribe in Hazelton (Gitan'maaxs) B.C. Canada. I am a member of the Wolf clan (lax Gibuu), house of "Amaget". My mother's grandparents are Peter Gordon Wilson and Amelia Angus both from the Hazelton / Kispiox (Ans'payaxw) area. I was raised in Terrace, B.C. and spent most of my time working on our family farm, Skeena River Vegetable Farms. At the age of 10 I was first introduced to our artwork by two different instructors (Randy Adams and Robert Stanley) who came to the elementary school (Cassie Hall Elementary School) and taught a number of indian art lessons to our fourth grade class. Both instructors were very skilled artist and that first impression left a lasting mark in my mind.
At age 11, I attended a seminar put on by Freda Diesing at the Northern Lights Art Studio. My mother was the one who wanted me to attend and after the lecture she approached Freda and arranged private lessons, so that I could be properly schooled in the arts of my people. From January 1984 until March 1985 I received private lessons drawing and carving lessons through Freda Diesing. I learned the basic rules and concepts of the artwork and became familiar with most of the animals and their distinguishing characteristics (ie. wolf, eagle, bear, beaver, hawk, raven etc...) I was also fortunate in that we spent a good deal of time actually carving out a number of pieces from Red Cedar and Yellow Cedar. From this I was able to learn the basics of wood carving (bas relief only) and how to take a piece from simple artwork to a finished product.
The 7th carving I completed under Freda's tutelage was a killer whale design which was submitted to the International Museum of Children's Art, where it has remained on exhibit for a number of years. Following this initial exposure to my artistic heritage like most teenagers I focused my attention on other pursuits and my academics. In 1990, I graduated high school from Caledonia Senior Secondary and then moved to Provo, UT to begin attending Brigham Young University. I served a two year mission for the LDS church in Nagoya, Japan (1991-1993). In 1995 I married my wife Cynthia Joy Wilkerson.
In 1998, I graduated from Brigham Young University in Mechanical Engineering with a minor in Math and Japanese. We lived for a short time in San Jose, California working for IBM. Then I returned to Utah to start a web hosting business with a friend that I had grew up with in Terrace. We incorporated NPS Internet Solutions, Inc in 1999 and I devoted the majority of my time and effort to this business endeavor for the next seven years of my life.
At the beginning 2006 it was decided that we would be selling the hosting business to another corporation and at this point I was able to take a step back and look at where my life had taken me. I realized that I had neglected one of my talents, my artwork. I made the decision at that point to never again completely remove myself from this tradition and since then I have begun to pursue it even more seriously and with a sense of purpose that was previously missing. We have recently moved to Olympia Washington and are excited to be close to the Seattle/Vancouver/Victoria area.
I owe a great deal to Freda Diesing for the training I have received and also for the influence her work has had on my own. I prefer a more classical approach in my artwork with heavier form lines and a look that is probably more Haida than Tshimshian. My wife is very supportive of my artwork and often helps in the composition of many of the pieces. We have four very active children and it is only with her support that I am able to take the time to generate new ideas and then execute them to the best of my ability. |
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