CRAVING CARVING
Dempsey Bob’s work is seen in many galleries and museums, as well as the Vancouver International Airport. Shawn Conner talked to the Tahltan-Tlingit artist.
Q You studied under Haida carver Freda Diesing, is that correct?
A Yeah. At that time there were a few old carvers but nobody was teaching. She was like our only school. We almost lost it (the tradition of carving). She was part of the revival. She taught a lot of the carvers who are working today.
Q When it comes to teaching traditional carving, how much is technique, how much is content? Do you encourage artists to break from tradition?
A They’re going to do it anyway. Art always has to come from a tradition. Say like Picasso. His tradition was the Greeks and Romans. He mastered that and knew it and could innovate from that. You can change it but you have to bring your knowledge from the foundation to make it work. Q Looking back on your career, were there times where you almost stopped, or were unhappy doing art?
A I did my whole career from up here (northern B.C.). I was frustrated because I felt like I couldn’t get any recognition. But I kept going and persevering. I guess it’s stubbornness. I didn’t want to quit. When I started I wasn’t the best artist, I wasn’t the best drawer, I wasn’t the best painter. But I had the most passion to do it well. I got that from my family. I was ready to learn. That’s half the battle right there.
Q What can you say about the work at Equinox?
A I’m trying to use what I know now and put the knowledge into my pieces. I’ve been working on the idea of wall sculptures, where they’re still coming from our stories and history, but where I’m trying to push the art and do the carvings I know I can do.
Q Do the ideas come from thinking about traditional stories, or looking at a block of wood, or something that happens in your life?
A It’s always different. From knowing the stories and understanding them, I’ll get ideas. I’ve been carving frogs. Frogs are dying over the earth now. I just love carving frogs.
Q Do you think West Coast First Nations art is healthy right now?
A Oh yeah. There’s a market now. When we started there was no market. Now there’s a big market for native fine art in America. We had to build a market, plus try to survive. I was part of that. Freda was, too. Now if you really apply yourself and you work hard and do good work, you have a chance to make a living. We didn’t have anywhere to sell it. Q You probably never thought you’d see your work in the airport (The Story of Fog Woman and Raven, is on Level 3). A Yeah. And getting in Equinox Gallery is a great opportunity, too. When we started we only had a totem pole gift shop in Prince Rupert to sell our stuff. We went from there to the National Gallery. That’s a long way from Prince Rupert in one lifetime.