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When you see native art around you in our west coast environments, it seems to speak of our history and the mysteries contained within the art forms of the west coast aboriginal artists.
There are very few art forms around the world that compare to the intricate details of painted black and red imagery, or how these characters transform from flat two dimensional to three dimentional
mythology creatures, and even more abstract in flat carved panel work.
My experience with wood carving originated at the Ksan Indian Art school in Hazelton B.C. in a very beautiful interior community where the recreated indian village housed a training facility. My teachers there were very
particular about their methods of training us, starting with the respect of the art of tool making and progressively moving us into wood carving, but only after a month of intense design training. It was a wonderful way for
me to start my career, learning from amazing master carvers like Vernon Stevans, Art Sterritt, the late great Walter Harris and Earl Muldoe. Additionally to these great teachers I was surrounded by a beautiful wilderness
of birch trees, fantastic mask carving material, two rivers meeting on either side of the school, and of course the enchanting recreated longhouses. All very inspirational and really enhancing the cultural immersion into my
ancestors art and creativity.
I do love to carve wood but the reality of my greatest passion is mostly in the illustrative realms of my creativity, wood just isn`t good for an impatient artist like me, so I have enjoy the intricacy of jewelry and storybook
illustrating more. It will always be a sideline hobby for me and something I can teach and pass on to our young people, and showing the importance of the historical value to them will keep the respect I learned over the
years, alive in a way that the art form gets the true value that it deserves in the collectors market.
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