Robert Davidson, Innocent Bystander
Robert Davidson
1946-
Haida
Alternative Name
Guud Sans Glans (Eagle Of The Dawn)
Date
2000
Medium Specific
Silkscreen
Edition / State
27/75
Classification
Print
Dimensions
22 x 22 in. (55.9 x 55.9 cm)
Accession Number
2019.35.20.67
Credit
Gift of Gloria and Selig Kaplan
Memo / Artist Statement
"One day, Raven was flying over the ocean and saw a halibut fisherman whom he knew was blind. He decided to play a trick on him and dove into the water to jiggle his halibut hook. The fisherman, thinking that he had caught a halibut, reacted with a strong pull to snag the fish. He yanked so hard and fast that he pulled Raven's beak off. This brought great shame to Raven. In Innocent Bystander the halibut is the object of this story, but if oblivious to the activities that surround him. In this interpretation of a Haida legend, Raven is depicted as being in two places at the same time. The small Raven in the halibut's mouth represents the conscience of Raven, he is also shown beside the halibut with a broken beak."
When I look down the gunnel of a finely crafted dugout canoe of my Haida forefathers I cannot help but marvel at its beauty and function. Every care and expertise was put into this vessel to ensure its function and aesthetic appearance. This same thought and care is carried through all the domestic utensils such as bowls, spoons, paddles, woven baskets and hats. I take great pleasure and pride in the use of these objects.
I am blessed to come from such a culture. It has been a long road of confusion and uncertainty to regain some of these skills and qualities. When I look at objects created by other nations of the world, I cannot help but to marvel at the ingenuity and variety that we all have, in creating objects from the different mediums of each locale.
As we enter into high technology and the computer age we are becoming removed from the spirit of great craftsmanship. I am not trying to discredit the advancements that have been made in the name of technology, but to caution the lack of spirituality in these mediums.
I remain committed to creating finely crafted objects and to passing on the skills that will bring joy and pleasure to a world that is searching for its lost soul. Haida art has become very addictive to me. I feel that its possibilities are limitless, and I’ve chosen to stay within the art form for that reason.
We had art that was sacred, only brought out for certain ceremonies. We had art on permanent display validating our place in the world. The big challenge today is to give meaning to the art form, meaningful to us, so we can relate to it.
Since the almost complete destruction of our spirit, our disconnection from our values and beliefs, it is the art that is bringing us back to our roots.
(https://www.robertdavidson.ca/artist-statement, 2020)
When I look down the gunnel of a finely crafted dugout canoe of my Haida forefathers I cannot help but marvel at its beauty and function. Every care and expertise was put into this vessel to ensure its function and aesthetic appearance. This same thought and care is carried through all the domestic utensils such as bowls, spoons, paddles, woven baskets and hats. I take great pleasure and pride in the use of these objects.
I am blessed to come from such a culture. It has been a long road of confusion and uncertainty to regain some of these skills and qualities. When I look at objects created by other nations of the world, I cannot help but to marvel at the ingenuity and variety that we all have, in creating objects from the different mediums of each locale.
As we enter into high technology and the computer age we are becoming removed from the spirit of great craftsmanship. I am not trying to discredit the advancements that have been made in the name of technology, but to caution the lack of spirituality in these mediums.
I remain committed to creating finely crafted objects and to passing on the skills that will bring joy and pleasure to a world that is searching for its lost soul. Haida art has become very addictive to me. I feel that its possibilities are limitless, and I’ve chosen to stay within the art form for that reason.
We had art that was sacred, only brought out for certain ceremonies. We had art on permanent display validating our place in the world. The big challenge today is to give meaning to the art form, meaningful to us, so we can relate to it.
Since the almost complete destruction of our spirit, our disconnection from our values and beliefs, it is the art that is bringing us back to our roots.
(https://www.robertdavidson.ca/artist-statement, 2020)
Biography
For more than fifty years now, Robert Davidson has worked as an artist and has produced an internationally acclaimed body of work.
Davidson was born November 4, 1946 to a particularly notable family of artists. His great grandfather was the famed Haida artist, Charles Edenshaw (1839 - 1924) whose superb artworks were well known in the Haida community. His father, Claude Davidson and grandfather, Robert Davidson Sr. were also respected carvers. Robert began carving at the age of 13 when his father insisted he carry on the family artistic tradition.
In 1965, Robert moved to Vancouver which allowed him to learn more about the arts of the Haida Nation, through visits to the Vancouver Museum to see stunning artworks collected from Haida Gwaii.
In 1966, while demonstrating his carving work at Eaton’s in Vancouver, Davidson met the late Bill Reid, who then coached him on sculpture and design for the next eighteen months. Through Reid, he met anthropologist Wilson Duff and artist Bill Holm, and continued to learn about the Haida art. In 1967, he enrolled in the Vancouver School of Art, a place he credits for developing his drawing.
He has received many honours for his accomplishments, including: an Inspire Award in art and culture, an Order of British Columbia; an Order of Canada, the Governor General’s Award for Visual Arts, the Audain Prize for Lifetime Achievement Award in the Visual Arts, and numerous honourary degrees from universities in Canada and the US.
He is a leading figure in the renaissance of Haida art and culture and is a founding member of the Rainbow Creek Dancers with his brother and fellow artist, Reg Davidson. He is also one of the founding members of the Haida Gwaii Singers Society, started by Terri-Lynn Williams-Davidson.
(https://www.robertdavidson.ca/biography, 2020)
Davidson was born November 4, 1946 to a particularly notable family of artists. His great grandfather was the famed Haida artist, Charles Edenshaw (1839 - 1924) whose superb artworks were well known in the Haida community. His father, Claude Davidson and grandfather, Robert Davidson Sr. were also respected carvers. Robert began carving at the age of 13 when his father insisted he carry on the family artistic tradition.
In 1965, Robert moved to Vancouver which allowed him to learn more about the arts of the Haida Nation, through visits to the Vancouver Museum to see stunning artworks collected from Haida Gwaii.
In 1966, while demonstrating his carving work at Eaton’s in Vancouver, Davidson met the late Bill Reid, who then coached him on sculpture and design for the next eighteen months. Through Reid, he met anthropologist Wilson Duff and artist Bill Holm, and continued to learn about the Haida art. In 1967, he enrolled in the Vancouver School of Art, a place he credits for developing his drawing.
He has received many honours for his accomplishments, including: an Inspire Award in art and culture, an Order of British Columbia; an Order of Canada, the Governor General’s Award for Visual Arts, the Audain Prize for Lifetime Achievement Award in the Visual Arts, and numerous honourary degrees from universities in Canada and the US.
He is a leading figure in the renaissance of Haida art and culture and is a founding member of the Rainbow Creek Dancers with his brother and fellow artist, Reg Davidson. He is also one of the founding members of the Haida Gwaii Singers Society, started by Terri-Lynn Williams-Davidson.
(https://www.robertdavidson.ca/biography, 2020)
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