Gwaai Edenshaw

Gwaai Edenshaw is a storyteller and carver of time and ideas. His tools are wood, metal, stone and bone. Gwaai’s carving, jewelry, and sculpture all find their genesis on the drawing board. This collection drums out the conceptual aspects of his work which have resonated with his culture, with society, and with collectors of art.

Both “Gagiid” images are derived from ancient and mysterious ochre cave drawings on Haida Gwaii, other images have been swiped from some of Gwaai Edenshaw’s childhood doodlings. “Son of Djillaquons” plays with a contemporary meme in Haida art. At its core, this work visits the misattribution of the Weeping Woman of Tanu as Djillaquons, and subsequent depictions throughout the years. Here Gwaai re-appropriates the idea of Djillaquons with tears as she cries out her children, the toads.

In this collection you may discover some of Gwaai Edenshaw’s influences, wander the shores of Haida Gwaii, meet the beasts and families, hear some stories, and even have a laugh. Gwaai has attempted to explore ideas of strife, cycles of life, language, family, humor, retribution and our vital links to the natural world.

Posted on March 10, 2015November 20, 2021 by petleyjones

Sounds Good on Paper

Sounds Good on Paper marked the first solo show of acclaimed Haida artist, Gwaai Edenshaw in March 2012.

The exhibition, and catalogue, introduced viewers not only to the creative process, imagery, development and breadth of Gwaai’s artistic practice, but also addresses issues of established cultural and historical notions of Haida art.

Like many young contemporary First Nations artists, Gwaai has struggled against the boundaries of what defines and qualifies First Nations art.

First Nations art is traditionally catagorized by its representation of iconic forms or stylistic modes e.g. Haida art and the ovoid forms. Regardless of its intent, this popular means of classification, based on traditional, or antiquated, iconography has imposed a limiting affect on the work of contemporary First Nations artists who push the boundaries of these formal images.

Gwaai contends that art, which may not fit traditional expectations of Haida “look and feel”, is still Haida art when executed by a Haida artist; it is the origins of an artwork, the cultural history of a people or a movement that helps define and expand an artistic style. Not the other way around.

(taken from catalog introduction by Jeen Yee, March 2012)

Gwaai Edenshaw

Gwaai Edenshaw

Sounds Good on Paper

Sounds Good on Paper marked the first solo show of acclaimed Haida artist, Gwaai Edenshaw in March 2012.

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