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North West American Native Art

June 20, 2014

Preston Singletary

Preston Singletary’s artistic direction shifted in the early 1990’s to re-connecting with his Native American influences and his Tlingit roots. North Pacific Coast artists such as Joe Brown gave him guidance to integrate spiritual and cultural aspects into his designs and delve into his ancestral past. Southwest Native symbols, animal spirits, icons, sacred motifs, supernatural beings and transformative themes became a focal point in his art. His interest in the “primitivism” of the Modern Art Movement”, where schematic abstract forms were expressed to embody the outside and inner worlds also became a key element in his interpretation of the indigenous art.
His works abound with myths and legends shown through using sacred natural designs such as wolves, frogs, bears, ravens, eagles, orcas, and humans; legendary creatures such as thunderbirds and sisiutls. Characteristic abstract designs are depicted with patterns following the formline styles of this Northwest Coastal Art. His cultural exploration is expressed with continuous, flowing, curvilinear lines that turn, swell and diminish in a prescribed manner with characteristic shapes such as ovoids, U forms and S forms.

http://prestonsingletary.com/

Bill Reid gold Dogfish Brooch, c. 1959. From ‘Bill Reid’ by Doris Shadbolt

During the early 20th century, very few First Nations artists in the Northwest Coast region were producing art. However the mid-20th century saw a revival of interest and production of Northwest Coast art, due to the influence of artists such as Bill Reid. This has continued and expanded with newer generations and Preston Singletary’s art exemplifies this. He has chosen a fresh medium of glass to represent his dynamic styles and his training included working with Venetian glass legend Lino Tagliapietra, and studying Swedish design at Kosta Boda. He has also collaborated with other glass and ceramic artists in the USA , Hawaii, New Zealand and Australia to diversify and broaden his skills and examples of this are shown below. Also two pieces of art by New Zealand Maori’s are displayed due to the similarities of the Northwest Coastal Art to the traditional styles of the Pacific Islanders.

” My work continues to evolve and connect my personal cultural perspective to current modern art movements, and I have received much attention for striving to keep the work fresh and relevant. I have been honored that my success has inspired other artists from underrepresented indigenous cultures to use glass and other non-traditional materials in their work, and hope that I can continue to encourage more innovation in this area as my career progresses. ” ~ Preston Singletary

‘Checkered Turtles’ vase — Jody Naranjo & Preston Singletary

‘Family Story Totem’ – Preston Singletary

Tsagiglalal, Guardian Nihhluidih

Columbia Hills State Park, USA

‘Into The Woods’ – Preston Singletary

( http://prestonsingletary.com/ )

2013

‘Loon Bowl’ – Stewart Jacobs

Carved ceramic 2005

The Loon perceived by the Northwest Coast People as being carriers of power and magic, is recognized for its spirit of peace, tranquility and generosity.

( canadianindianart.com )

Jody Naranjo natural clay vase

( blueraingallery.com )

“The Calm of Winter” – Jody Naranjo

Blue Rain Gallery

Jody Naranjo and Preston Singletary Collaboration—Blue Rain Gallery

Jody Naranjo—contemporary Peublo pottery

Blue Rain Gallery

‘Peacocks on Parade’ — Jody Naranjo & Preston Singletary collaboration

Blue Rain Gallery

‘Horse Stampede’ – Jody Naranjo and Preston Singletary

‘Kiwi’ by, New Zealand Māori artist Kerry Kapua Thompson

‘Kotuku’ (White Heron) by Māori artist Rex Homan

Glass sculpture ‘Levitate’ by Preston Singletary

American North West Coastal Indian Mask

Pattern Board for a Chilkat Tunic, painted wood, c. 1840

Preston Singletary & Tammy Garcia-2008-~-sand carved glass vase

( Blue Rain Gallery / Santa Fe New Mexico )

Preston Singletary, ‘Emblem of Creation’ –2013

( http://prestonsingletary.com/ )

Preston Singletary and Dante Marioni glass vase

Preston Singletary, – ‘Gray Whale’,- 2013

Preston Singletary ‘Great Whale’ sandblasted glass sculpture

Preston Singletary – Tlingit Basket

Preston Singletary ‘Two Wolves and the Moon’ 2013

Height 20.75 inches

Preston Singletary — Blue Rain Gallery

Preston Singletary – Blue Rain Gallery–Santa Fe, New Mexico

Preston Singletary – ‘Journey to the Land of the Dead’ – sandblasted glass

2014

Preston Singletary – ‘Frog tongue’ 2013

‘Whale and Eagle’ — bronze sculpture – Preston Singletary

height-18inches

‘Raven’s Eye’ — Preston Singletary & Ross Richmond

‘Return from the Other World’ – Preston Singletary

(2013)

‘The Boy with the Light’ — Preston Singletary – 0v0id glass sculpture

‘Spirit of a goose’ -2012—Preston Singletary

Tammy Garcia — ‘Thunderbird Pop’ — natural clay with turquoise inlay

( Blue Rain Gallery / Santa Fe New Mexico )

‘Tlingit Crest Hat’ by Preston Singletary,2007

North West Indian Totem pole sculpture

( Skinner )

‘Anasazi Dragonfly’

by Preston Singletary and Tammy Garcia ,2007

Blown and sandcarved glass, in collaboration with Preston Singletary

Translucent Copper (2013)—Preston Singletary

Preston Singletary and Dante Marioni

Vancouver Island Tribe, circa 1900, potlatch dance mask, at the National Museum of the American Indian exhibition “An Infiinity of Nations”

Preston Singletary blown glass sculpture

Robert Davidson

Barbara Brotherton from the Seattle Art Museum claims that Canadian Robert Davidson is at the foundation level of reconstructing culture through visual art. “ For a long time what was called a ‘renaissance’ is really a reformulation and a rebirth of visual traditions that had been lost. It wasn’t until the 1970’s, after he’d studied the deeper meanings and age-old principles behind Haida art and design, that “abstract impulses” started flowing through his own paintings and carvings “, Brotherton says.
One of the interesting things about Davidson’s work is that while it obviously pays homage to the techniques, motifs and narratives that came before, it is distinctly of his own time. ( via westpacificreview.com )
Davidson states that “ each one of us is connected to the ancient ways by a thin thread. And when we come together, we form a thick rope “ The same can be said for the collective contribution of the North West native artists in rediscovering their ancient art.

http://www.robertdavidson.ca/