Survivor Mask, 2005
by Quineesh James, Kwakwaka'wakw First Nation
red cedar, horse hair, copper, abalone inlay
12" high (27" high including hair) x 7" wide x 6.5" deep
Quineesh James carved this mask when he was just 14 years old with limited guidance from his father, master carver Simon Dick James. This mask represents the the survival of the Kwakwaka'wakw culture and art. One side of the mask represents the elders or keepers of tradition, who despite being outlawed from creating traditional art, participating in potlatch, or holding traditional ceremonies, carried on underground, passing on the knowledge. The other side of the mask represents the next generation of artists and tribal members who proudly carry on the traditions. This mask is about resilience in the face of adversity.
Born in the Comox Valley of British Columbia in 1991, Quineesh James is an artist of Kwakwaka’wakw ancestry. Named after a legendary glacier, he was given the name Quineesh, meaning white whale. While growing up, Quinn regularly attended potlatches and was taught the cultural ways of his people through his father, Simon Dick James. While under the guidance of his father, Quinn carved his first mask at the age of 13.
Quineesh is well versed in the practice of his culture's traditional carving techniques and protocols, and expresses a unique contemporary style in his art while trying to stay as close as possible to his Kwakwaka'wakw roots. The tradition of mask carving is passed down through generations, and though rarely adhered to in modern times, he honors this disappearing knowledge.
Quineesh has danced in traditional regalia and has performed the Raven Transformation dance, utilizing the age-old rigging system for dance masks. The experience of actually dancing with a mask has enhanced his artwork because he understands the importance of a fully functional dance mask, as opposed to one that is only decorative. Few contemporary artists create from such a knowledge base.
Traditionally, cedar was the most important component of embellishing dance masks. There is an old technique, handed down through generations of sustainably harvesting cedar bark strips for masks and regalia. Quineesh has been taught how to properly do this by elders and has often harvested his own cedar bark for his artworks.
Spending time in carving shops all of his life, Quineesh’s art has been influenced by artists such as Beau Dick, Ian Reid, and Junior Henderson. In addition to carving masks, Quineesh has assisted his father with the carving and restoration of totem poles, recently a restored pole which is installed in the Parksville, BC, Library. He is currently studying other art forms in University and plans to continually evolve his art style.
