Charles Edenshaw retrospective at the McMichael

Brandfordtimes.ca
July 17, 2014
By Miriam King

When Canadians think of Haida art and its iconic images, they are in fact paying tribute to the prolific talent and sensibility of one man, Charles Edenshaw.

Edenshaw (circa 1839 - 1920) was a master carver who not only preserved Haida traditional imagery, but adapted it to the times, and imbued traditional forms with new life. He also preserved the artforms at a time when the whole culture was under pressure - surviving the importation of smallpox, estimated to have wiped out 90% of west coast indigenous populations in the 1860s; and the colonial ban on the Potlatch in 1884.

But Edenshaw was not just a traditionalist. He read the newspapers of the day, clipping out images and articles for inspiration. “He really did want to connect with a large clientele and a broad clientele. There was a strong sense of adaptation; he lived at a time of great transitions,” says Chris Finn, Assistant Curator at the McMichael Canadian Art Collection in Kleinburg.

Edenshaw created totem poles, carved blanket boxes, traditional wooden “Transformation” masks used in dances to represent the links between the natural and spirit worlds, but also developed new artforms. The Haida used serving bowls and large carved spoons for their feasts; Edenshaw created argillite platters, based on Victorian serving pieces, decorated with his fluid carvings of narrative legends - and small spoons, made from melted down silver coins.

The Haida tradition of the “talking stick” - a carved stick held by the speaker at meetings - was translated and transformed, into wooden cane.

In 1873 he married Isabella, also an accomplished artist, renowned for her remarkable spruce root weavings. They collaborated on hats and baskets - Isabella doing the weaving, Edenshaw adding his paintings of traditional designs - yet another example of the marriage of tradition and innovation.

The McMichael has opened a major exhibit of Charles Edenshaw’s work, a retrospective of 80 objects, from both private and public collections, that reflect his range of talents - from traditional carvings, to Argillite platters influenced by Victorian China, to silver and gold bracelets.

“This is the first major retrospective that’s been held regarding Edenshaw,” said Finn. One of the key challenges? Edenshaw did not sign his works. As a result, in all but a few cases where there was a direct purchase from the artist, the works can only be “attributed to” the master carver.

The exhibit, which opened June 28, is divided into four parts: Traditions,including some of the objects that were in Edenshaw’s own home in Haida Gwai; Narrative, the artist’s reinterpretation of oral traditions and storytelling; Style, which includes the bracelets, made from silver and gold coins, that incorporate his fluid, 3-dimensional style of carving; and New Forms.

Each area in the exhibit uses photographs and audio-visual materials - including a 45 minute film featuring interviews with his descendants and later artists who have been influenced by his work, making his legacy clear.

The McMichael is the final stop for the retrospective, which was organized by the Vancouver Art Gallery, and has visited the National Gallery of Canada in Ottawa. The works will be on display at the gallery in Kleinburg until September 21, 2014.See www.mcmichael.com