By: Petra Chase, Arts & Culture Editor
You probably know Bill Reid (1920–1998) for his grand jade sculpture at the YVR airport, an image which was also printed on Canadian 20-dollar bills in 2004: The Spirit of Haida Gwaii depicts a man surrounded by animals, rowing on a canoe, a prime example of the artist’s connection to the “beautiful beasts and heroes of Haida mythology.” Reid wrote in 1990 about this final major work, saying the man in the middle may represent “the spirit of Haida Gwaii, leading us, for we are all in the same boat.”
25 years after his death, the Bright Futures exhibit at the Bill Reid Gallery of Northwest Coast Art, on until January 2024, puts 14 budding Indigenous artists side-by-side with Reid’s work. Reid was an “acclaimed master goldsmith, sculptor, writer, mentor, and community activist.” Haida visual artist Gwaai Edenshaw remarked, “Almost every artist working today on the Northwest Coast can trace a line back to [him].” Bright Futures commemorates how he passed the torch to the next generation, and the ways in which new generations continue to push boundaries.
The gallery’s permanent collection is a panorama of Reid’s artistic life; the Bright Futures collection overlaps the space like contemporary annotations of the phases of his practice. From intricate metalwork miniatures to large totem poles, paintings, and wearable art, there’s an invigorating spectrum of art.
Coast Salish artist, Maynard Johnny Jr., masters traditional formline design, a distinctive two-dimensional technique. His print piece, Protector, depicts a killer whale saving a child using clean-cut principles, elegantly curved within a circular canvas. Johnny Jr. describes it as “a reminder of us as Indigenous people protecting our youth and culture so that future generations will prosper.”
Storytelling and mythology continues to influence artists of the Northwest Coast, and it was interesting to read about the stories behind the fantastical images. Haida artist Keith Kerrigan commemorated Reid’s spirit animal, the “trickster” raven, in a sterling silver casting. Reid famously retold the Haida creation story in his Raven and the First Men, a sculpture he made in various sizes and materials. Building on this, Kerrigan wrote, “I see the Raven as a catalyst for change, having seen the world as it was and knowing what it could be.” His miniature raven embodies Reid’s inquisitive spirit.
Wearable art was also a significant portion of the exhibit. Nuxalk artist Latham Mack’s Grizzly Bear Frontlet was made from traditional materials, like rabbit fur, cedar wood, and abalone. The figure exudes strength and resilience, topped with a fittingly regal crown of sea lion whiskers.
According to Gitxsan nation fashion designer Yolonda Skelton (Sugiit Lukxs), whose bold dress is on display, the term “wearable art,” is more than fashion, denoting the significance of becoming “an educator and storyteller to all who ask what you’re wearing.”
Artists like Cody Lecoy (Syilx and Lekwungen ancestry) follow Reid’s ability to pursue new ideas while inspired by tradition. Lecoy’s abstract dreamscape, Against the Current, is based on Reid’s The Spirit of Haida Gwaii.
According to the exhibit’s description, “The Haida expression ‘deeply carved’ refers to an object that is well-made but also speaks to one’s emotions.” Bright Futures carries on traditional knowledge and radiates what Reid calls the “joy of making.” With free admission for SFU students, and located a few blocks away from SFU Harbour Centre, the exhibit is well worth the visit.
