Davidson continues tradition of greatness

Page R7

Serendipity and spirit marked the launch of a major retrospective of acclaimed Haida artist Robert Davidson at the Vancouver Art Gallery.

The June 26 opening came the day after a major ruling on Aboriginal hunting and fishing rights, and the day before the Qatuwas canoe journey landing at Bella Bella. Both were landmark events in Native culture and history.

"The timing was a surprise of serendipity," said Christopher Duclos, spokesperson for the gallery.

Davidson's first three decades evolve as one passes through the serpentine journey. Through shapes of cedar, waves of paper, and curves of silver, gold and bronze, the spirit of Charles Edenshaw passes through to his equally great grandson.

In Davidson's deft hands, the spirits of the killer whale, the raven and the sea monster burst forth as bold forms possessed with legends of the soul. From vibrant drum faces to unadorned yellow cedar carvings, each work speaks through all barriers of time and culture.

A three-metre raven totem pole beckons one into the show, and on to such intricate treasures as a cedar lapel pin just over two and a half centimetres in diameter.

Apprenticed at the age of 20 to Haida grand-master Bill Reid in 1966, Davidson has carried the torch as the shining light of the new generation of Northwest artists.

Davidson erected Bear Mother, a 12-metre pole in his native village of Masset when he was 23. His work was the first pole to be raised in 90 years in Haida Gwaii, also known as the Queen Charlotte Islands, the heart of outlawed potlatch culture.

In a two-year effort, some 208 works have been gathered from a myriad of public and private collections for Davidson's three-month show. After closing on September 26, the exhibition moves to Hull, Quebec for a nine-month run at the Museum of Civilization. That show opens December 13.