W̱SÁNEĆ
raising up
Charles Elliott Coast Salish Artist
W
hen the floodwaters receded, the land began to emerge, to be again born as a paradise that would care for the people, and provide for all of their needs. Perhaps because they felt reborn, they saw it as a baby and called it W̱SÁNEĆ which can be interpreted as ‘raising up’.
Celebration, acrylic on paper, 1988, 41 x 51 cm
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When asked about his earliest influences Coast Salish artist Charles Elliott goes back to his childhood and talks about his father, Dave Elliott. A true ‘Saltwater’ person, he created objects and tools for his work as a fisherman – oars of stripped and cut poles and blades of plywood, and fishing plugs constructed of three joined sections that would swim through the water as though they were living small fish – irresistible to the cod. He also recalls how as a young boy he would marvel as his father formed small boats from cottonwood bark, sails of paper, and small carved rudders. When launched, the miniature craft would arc and return to shore.
Human Figure Bowl, alder with abalone inlay, 1982, 9 x 15 x 32 cm
Elliott’s work reaches across time and generations – from ancestors, from father to son, and to the younger artists. Human Figure Bowl is an early piece inspired by seated human figure bowls found in Coast Salish territory – some created up to 8,000 years ago. For the artist these bowls are precious because they cast a line through time and make spiritual connection to the ancestors real in this present physical world. The visual characteristics of these bowls questions commonly assumed theories about the origins and relationships of the people and their supposed migrations across the Bering Strait. Many of these ancient bowls carry images of rattlesnakes and a particular shape of eye that are commonly found in art from as far south as Central and South America.
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Frog Bowl, yellow cedar, 1990, 37 x 25 cm - photo by the artist
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Elliott works with a deep respect for his ancestors and culture and a razor sharp wit. This is reflected in his Frog Bowl, which in many ways is two pieces. The artist pays attention to frogs and has a strong personal spiritual connection to these keepers of the seasons. Frog announces the end of winter and sings in spring, telling us it’s time to put aside our winter ceremonies and prepare for the time of food gathering and survival. In a playful twist, this frog holds its ‘hands’ in a position that suggests SȽEHÁL – the bone game. Upon closer inspection two faces become evident – one at each end representing the two gambling teams. During a match one player holds two bones in their moving hands. Special songs are sung and with skill, concentration and a bit of magic, they either succeed in concealing the unmarked bone or it is exposed by an observant member of the opposing team.
Early in his career Elliott searched and experimented with various approaches. However, he knew Salish culture was unique and that it was held close to the heart of the people. Spirit dancing and ceremonies were not exploited for public performance. Locating ancient Coast Salish works was not easy, but through commitment Creator’s Gifts, limited edition print, 1988, 46 x 46 cm Elliott began to research photographs and pieces held by museums. He gained access to private and museum collections, and through his self-directed immersion began to recognize and re-awaken his understanding of Coast Salish visual language. In 1988, St. Andrew’s Cathedral in Victoria commissioned Elliott to create a carved alter that consists of a 7 x 4 foot surface supported by two 3 x 3 foot boxes, each offering four different images. Rather than seeing this as a contradiction, Elliott recognized that true Christian teachings are not necessarily in conflict with Coast Salish ways. He saw this as an opportunity to present his peoples’ beliefs and their way of knowing the land, each other, spirit and the great mystery of creation. Images from the elaborately carved altar were pulled and a set of eight limited edition prints was created, including Creator’s Gifts, which shows roots from the cedar trees reaching down to become hands that hold up the Longhouse and the bounty of the sea.
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Sacred Feast, limited edition print, 1988, 46 x 46 cm
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In Elliott’s work the colour blue is associated with the spiritual realm of all things. His consistent inclusion of a particular hue, often called ‘Salish Blue’, gives the spiritual world a living presence in almost every piece he creates. In another of the altar prints, Sacred Feast, a basket carries the Salmon and Orca, which are blue in acknowledgement of their spiritual as well as physical importance to the people. The canoe carries us and this spiritual feast through time.
Creation, limited edition print, 1988, 46 x 46 cm
The Sun we rely on for our very survival is a key figure in Creation. Winds from all directions bring change and the four seasons. Thunderbird, spiritual messenger to the Creator, also brings ritual cleansing and assistance. Again, the omnipresence of the land is illustrated by cedar trees, flowers and vines, Beaver and Bear. Dolphin and Salmon represent the ocean. The human being – both man and woman – appears to be surrounded, even embraced by this living world. The indigenous white dove seen here was once so plentiful and trusting the people could approach and pick them up in their bare hands. The image speaks of the fact that at one time the land provided the Saanich people with everything they needed.
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SELSELTEN, limited edition print, 2000, 33 cm diametre
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Spindle whorls predominated the historical Salish pieces that Elliott saw during his research in museums and of archival photos. For the Coast Salish people, activities surrounding weaving were sacred, and the associated tools acted as a flywheel and provided weight and momentum needed to spin raw wool into yarn. After consulting with the spinner, the maker of the whorl would incorporate images that held visionary meaning for the person, who would later be re-inspired by this presence while spinning; an act of prayer and meditation. The circular form of the spindle whorl has been translated into contemporary two-dimensional works by many Coast Salish artists. SELSELTEN shows a human flanked by Wolves who are spiritual helpers. The human is singing with hands held up.
In the Spirit, limited edition print, 1997, 53 cm diametre
In the SENĆOŦEN language, SELSÁLES means hands. Some say the name Salish may have been derived from this word and the Salish use of hand gestures for greeting, thanking, praying and acknowledging. In SENĆOŦEN, the Saanich people call themselves W̱ILṈEW̱ which means ‘the people’. In the Spirit also shows this gesture of thanks as the human who travels through time in the canoe has hands raised to the Creator who shines down as the Sun. The Swan is pure and symbolizes the good intentions of mankind, which includes the four colours of the human race represented in the land. The canoe speaks of travel and movement through time toward the approaching new millennium.
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His early experiences as a searching young artist gave Elliott a personal understanding of the importance of his mission. He has shared what he has learned with subsequent generations as a mentor to many young artists. During the past 40 years he and a few others – Simon Charlie, Susan Point and Stan Green, have worked hard to revive Coast Salish art and their legacy can be seen in Creation, red cedar, abalone, acrylic, 1997, 103 x 40 x 2.5 cm the works of the new generation. Elliott says he remains ‘old school’ and that his works are intricate like the historical pieces he has seen.
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The relief-carved sculpture, Creation, depicts many layers of the world which are equal and interdependent – the sun and moon, the diving bird, creatures of the ocean and humans are present. Their interconnection is given form in fins that become birds, and joints that are eyes or the faces of the celestial beings.
Message, limited edition print, 2000, 33 cm diametre
The presence of the Orca and Thunderbird together speaks of a balance of power. There was a time when Orca lived in such great numbers in Saanich waters they were scaring the fish away. The people prayed for Thunderbird to take Whale away so they would have enough food. Thunderbird answered their prayers and one day when they awoke the whales were gone from the waters around Saanich and the fish became plentiful again. The concepts of interconnection and mutual dependence are seen again in Message, where the hair of the human is also Raven, who carries a message. Here Elliot confirms our dependence and connection when he expresses concern for the land and appeals for an end to man’s destruction of the oceans. A visual parallel can be drawn between this image
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Coast Salish Raven, red cedar, bark, copper, brass, crow feathers, acrylic, 1997, 13 x 19 x 48 cm
and the Coast Salish Raven headdress, which is carved and constructed of red cedar – a material lightweight enough to be worn and danced.
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Raven, highly significant in Saanich relationships, is supported by Frog, who announces that winter is over, ceremonies end, and it’s time to gather the tools for building, working and gathering food. In this headdress the artist manifests specific ways of being in the world, marking time, and understanding our place amongst all things.
Spindle Whorl Headband, yellow cedar, abalone, wool, 1994, 10.5 cm diametre, woven headband by weaver Rita (Louis) Misheal
For the 1994 Commonwealth Games, Charles Elliott, Richard Hunt, and the late Art Thompson co-designed the Queen’s Baton representing the three island nations – Coast Salish, Kwagiulth and Nuu Chah Nulth. For the occasion of the presentation of the baton to the Governor General Ramon Hnatyshyn, Elliott worked with Coast Salish weaver Rita (Louis) Misheal to create his personal traditional Salish headdress, Spindle Whorl Headband, which shows a human protected by two wolves. Since 1994, Elliott has worn this honourable headdress for many public and ceremonial occasions such as pole raisings or unveilings, and his 2005 entry into the Order of British Columbia. Charles and his ten brothers and sisters were raised close to the beach and most days there were activities that took them down to the shore. Still today, down the trail behind his mother Beatrice’s house, there is a special place called the ḰENES. Here, fresh and salt water combine as Hagan Creek empties into Brentwood Bay to form a small inlet that
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ḰENES/Hagan Creek, red cedar, acrylic, 1999, 152 x 121.5 x 4.5 cm
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attracts large numbers of fish and birds including Sneke (Heron). The place is named after ḰENES (Whale), who used to come here in large numbers to rub against the steep banks to remove barnacles from their bodies. In 1999, the Institute of Ocean Sciences in Saanich and the ḰENES/Hagan Creek Project commissioned ḰENES/ Hagan Creek, a relief carving depicting the area which has attracted the attention of those concerned with protecting shoreline environments in Saanich. Farm and industrial run-off has fouled the waters but there are ongoing efforts to re-establish the pristine creek and shore.
Many of Elliott’s large public works can be found throughout Saanich and Victoria. In 2002 he was commissioned to carve three of four house posts representing the four villages of Saanich – Tsartlip, Pauquachin, Tseycum. (The fourth village, Tsawout, was represented by Douglas LaFortune.) Tseycum (W̱SÍḴEM) House Post tells a story from a time when Creator walked amongst us. There was a young man who traveled between the villages as a messenger. He would travel with his companion Wolf, sometimes on foot and sometimes swimming to neighbouring islands. Once, as he prepared to swim from Lands End Beach to what is now called Saltspring Island, Wolf pleaded with him not to go – he was afraid and didn’t want to swim the channel. The Creator, ever-present, saw this act of cowardice and changed Wolf to stone to sit forever on the beach.
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Tseycum House Post, yellow cedar and acrylic, 2002, 4 x .75 metres
ȽÁU,WELṈEW̱ Tribal School in Saanich, Flying Eagle Welcome Figure, pole and murals, 1989
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For the past 40 years Charles Elliott has pursued the path of a self-taught artist. Although no one sat down and taught him, he does not hesitate to acknowledge those who inspired or influenced him along the way. Thirty years ago, Freda Diesing, Norval Morrisseau, Simon Charlie and Tony Hunt inspired him by producing work and living as full-time committed artists. Others such as Cicero August and Willard Joseph influenced him through acts of encouragement. These memories inform Elliott’s way of engaging younger artists and his community.
Charles Elliott putting the finishing touches on a pole destined for Quebec, 2006
As Charles Elliott moves through his fourth decade as an artist, he looks forward to building a workshop and exhibition space that will benefit not only him, but others in his community, and the arts of W̱SÁNEĆ. As a family and community legacy, he would also like to carve an ocean going canoe. He is motivated by the vitality this will bring to those who make, paddle and support the canoe culture. While his work has quietly traveled around the world, Charles Elliott has remained close to homeland and family. In this way, the artist’s dreams and his work continue to build strength through a connection that arcs back to his time on the shore watching his father.
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Charles Elliott
Selected Exhibitions and Commissions
2006
12ft Totem Pole commissioned for private collection in Quebec
2005
Recipient of the Order of British Columbia
2004
Esquimalt Municipal Town Hall commissioned an 8ft Spindle Whorl
2004
Buchart Gardens commissioned a 30ft Totem Pole depicting animals that lived in the area of the former village site
2004
Brentwood Bay Lodge, two 6ft House Posts, Brentwood Bay, BC
2003
5th Annual Coast Salish Fine Art Show – co-founder of this annual event originally in conjunction with the Unitarian Church of Victoria for the first four years
2003
Blue Heron Sculpture, commissioned by the University of Victoria. The sculpture was presented as a gift to Dr. Norma Mickelson in honour of her work as Vice-Chancellor of the University of Victoria.
2002
Recipient of the Queen’s Jubilee Award
2002
W̱SÁNEĆ – “raising up”, solo exhibition, House of First Voices Aboriginal Art Gallery of the First Peoples Cultural Foundation, Victoria, BC
2001
Sancha Town Hall & Cultural Centre commissioned three 12ft House Posts
2000
White Spot Restaurant owner Don Ball commissioned a 7ft Totem Pole for their East Saanich location
2000 Canadian Broadcasting Corporation, CBC Television Art Spots Program – one of twenty artists selected from across Canada to be interviewed 1999 Talking Stick for Nelson Mandela – commissioned, for his visit to Seattle, by the Dumamish First Nations, sponsored by Greg Macaw Foundation
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1999 10ft Totem Pole commissioned by the Victoria Police Department for their building entrance to honour the Salish Territory on which it stands 1999
Embrace the Visionaries, Richmond Art Gallery, Richmond, BC
1999 TSO EḰ Nation and Sooke Capital Regional District commissioned two Talking Sticks to commemorate Sooke’s 150 year history of co-existence with local First Nations. One Talking Stick was presented to Governor General Romeo LeBlanc and one Talking Stick remained in Sooke.
1998
ȽÁU,WELṈEW̱ Tribal School Opening Installations, Saanich, BC
1997
Original Painting to commemorate the 30th Anniversary of Convocation of Bishop Remi de Roo of Victoria, BC
1997
Four Totem Poles, weight bearing structural installations, commissioned by Thrifty’s Foods to adorn the entrance of their Saanichton location
1997
“A Call To Share”, Red Cross Bone Marrow Registry – created a logo to encourage First Nations people to register as potential donors
1996/97 World Competition of Town Criers – carved and designed Talking Sticks, Original Drums and limited editions prints for each annual event, Sidney, BC 1996
First Nations Art Web Site, Maltwood Museum and Art Education Faculty at the University of Victoria
1994
Artists of the Coast Salish, Nuu-cha-nulth and Kwakawaka’wakw Nations, First Peoples Festival, Victoria, BC
1994
Government House Exhibition
1994 One of three designers of the Queen’s Baton, 1994 Commonwealth Games 1994
Designer of Gold Medal for 15th Annual Commonwealth Games, Victoria, BC
1994 Canada Post Corporation, Collector’s Edition stamp – Queen’s Baton design 1993
15ft Totem Pole, Otaki, Japan, sister city to Lake Cowichan, BC
1991
International Biennial of Graphic Print Show, Czechoslovakia
1991
28ft Totem Pole to Commemorate Learned Societies World Conference, University of Victoria
1989
ȽÁU,WELṈEW̱ Tribal School 26ft Totem Pole depicting Saanich history 20ft x 24ft Flying Eagle Welcome Figure, assisted by students 40ft x 20ft Thunderbird Mural, assisted by students Several wall murals throughout the school, as well, apprenticed eight students who worked on individual mural projects
1985
The Northwest Coast Native Print Show, “A Contemporary Tradition Comes of Age”, Art Gallery of Greater Victoria
1984
Contemporary Tradition – “New Work on the Northwest Coast”, Maltwood Gallery, University of Victoria
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Written by Cathi Charles Wherry Publication design – Florene Belmore and Randall Gray Editorial assistance – Myrna Elliott Photography – Tony Starck, Cathi Charles Wherry SENĆOŦEN language – John Elliott SENĆOŦEN keyboard – SENĆOŦEN alphabet developed by the late Dave Elliott, father of Charles Elliott
Acknowledgements:
COVER IMAGE: Raven’s Choice, limited edition print, 2000, 33 cm diametre