A style and technique specific to the Northwest coast of the Pacific, the bentwood box proved to be incredibly versatile. Bentwood boxes have been used for storage, cooking, and funerary purposes; here the bent plank of cedar highlights the skill of its maker and provides a blank canvas for the artist’s vision.

A self-described carver, painter and designer, Ken Humpherville always had a deep respect and love for the traditional Tsimshian art of his adopted home. A Métis Cree artist by birth, Humpherville’s deft carving hand was honed through years of being a forestry worker and carpenter contractor prior to focusing on art. His marriage into and later adoption by the Eagle House of the Gispaloats furthered his drive to honour the art and style with his representations of it, as can be seen with the skillfully rendered carving, painting, and inlay throughout this box.

The moon, decidedly more “male” in its presentation than most, has been thrown into the sky by the Raven where its light can shine down. The smooth, delicately carved finish of the moon is encircled by the pearlescent shine of the abalone inlay. A feature that would normally lie flat or in relief against the panel, the Moon sits proud and its features are strong and exaggerated; it could almost be an addition to Humpherville’s catalogue of masks and coverlets by itself were it to be taken off the panel. The moon is further highlighted by Humpherville’s carefully placed paintwork throughout the panel, a mirrored pattern of black and burgundy telling the Moon’s story. Set deeper into the box’s lid are six female faces, each carved with the distinctive labret in the lower lip. Humpherville’s noted love for his family can be seen in other bentwood boxes and panels where six similar faces have been his six daughters. They are perhaps portrayed on this box as well, making an appearance to watch over the moon, surrounded by opercula stars.