Men's Wallet - Perspective
Artist: Andy Everson
One of the things I like about drawing inspiration from traditional Northwest Coast art is the different perspectives that our people viewed things from. Where in typical western art, a whale is most often illustrated in profile or as a 3 dimensional realistic form, Northwest Coast art often goes far beyond that.
In traditional coastal art, killer whales can be viewed from the side while simultaneously viewed head-on. At the same time, we often get a look at their skeletal structure. Other times, we get a glimpse of their transformative capabilities that relate them back to our ancestral stories.
In this piece, I wanted to show a split killer whale that joins at both the head and the tail. Where the heads join, the whale is viewed head-on and where the tails join, it is viewed tail-on. I also wanted to add more dimensions by placing the tail fin above the head to give the appearance of diving and below the head to give the appearance of jumping--all characteristics of orcas. The figure above the blowhole represents both the spirit of the whale and its ability to transform into human form. The red line represents the thin veil that separates the physical world from the spiritual realm.
Simply put, I wanted to show a different perspective on how we see the natural world around us.
Material: Durable, vegan, man-made faux leather.
Measurements: Approximately 4.5 x 3.75 inches.
Details: 9 credit card slots, large money pocket, clear plastic id slot and 4 additional pockets.
About The Artist
Andy Everson was born in Comox B.C. in 1972 and named Nagedzi after his grandfather, Chief Andy Frank. His cultural interests lay with both his Comox and Kwakwaka'wakw ancestries and are expressed through dancing, singing, and even the pursuit of a Master's degree in anthropology. Andy feels that my artwork stands on par with these other accomplishments.
Although he began drawing Northwest Coast art at an early age, his first serious attempt wasn't until 1990 when He started designing and painting chilkat-style blankets for use in potlatch dancing. From these early self-taught lessons he has tried to follow in the footsteps of m Kwakiutl relatives in creating bold and unique representations that remain rooted in the age-old traditions of his ancestors.