The exhibit of Pacific Coast Salish art I saw today at the BC museum was entitled 'S'abadeb The Gifts', and what a gift it was! Weaving, basketry, carving, and other art forms as well as film and written information about their history and culture right up to the present. The photo above is not from the exhibit and is a carving I already have that is of unknown origin. Photography wasn't allowed at the exhibit and I wanted something that catches a flavour of today and I thought of this. I liked a quote by a Salish elder, who said that for the Salish, looking at a pile of mountain goat's wool was like looking at the vault in Fort Knox! The spindle whorls they used to hold the spun wool are associated with the weaver's spiritual helpers and had fascinating designs. There was a dress made of woven cedar bark which was incredible. I also like how they added animal images to their tools to evoke qualities such as precision and speed, and how each family had their own songs, stories and art to pass on to next generations. Being included in a story was important because if gave individuals a sense of belonging - I like that. And I especially appreciate how they incorporated ritual into their lives and their respectful behaviour to each other and all beings. There were also more recent Salish art pieces, such as an etched glass spindle whorl and paintings. What an inspiring journey into Coast Salish art and culture.
Including on the grounds outside the old church where the 'Consider the Lilies' show is put on annually by eleven local fibre artists. 
I found a lovely painted silk charmeuse jacket there, made by Irm Houle. It has other butterflies, too, and a huge one spanning the entire back. 
I have also been to the BC Museum to see 'The Other Emily: Redefining Emily Carr', an exhibit where artist Manon Elder collaborated with curator Kathryn Bridge, to show Emily in her youth, before she became widely recognized. Manon's paintings of Carr are her novel interpretations based on historical photographs and these were interspersed with Carr's paintings, journals and sketchbooks. I came away feeling uplifted for having entered Carr's interesting and fruitful world. I have always been drawn to her paintings and once did a pastel rendition of one of them as a teenager. I was also intrigued that in a few of Manon's paintings of Carr, she used liquid indigo on the canvas. This close up was part of a sleeve in one of the paintings:
And another sleeve - this one from a Victorian style child's dress from around the same time period as Emily's childhood. I like the triangles, which also lined the hem of the skirt. 
And - I have cleared my studio area so I have space to work again. 
