Sean Hinton was born in Saskatoon, Saskatchewan in 1969 and he is of Cherokee decent. Upon moving to British Columbia, he became part of the Coghlan Art Studio and Gallery in the Fraser Gallery which provided both a training studio and work space for artists as well as a retail gallery. He began working with Coast Salish artist Rocky Laroque, Nuu-chah-nulth artist, Tom Patterson and Cree artists Gene and Jay Brabant – all with a history of working in the style of a variety of Northwest Coast nations.

This mask is carved in a tribute style to Kwak-waka’wakw master, Willie Seaweed – documented in the exhibition and publication Smokey-Top – The Art and Times of Wille Seaweed by Bill Holm, author and curator (Douglas & McIntyre Publishers, 1983). The contributions of Willie Seaweed to the art form are immeasurable -a definitive carving style that understand the movements and skills of the dancer and a painting style defined by multiple thin layers of marine enamel paint that reflected in the fire-lit ceremonial hall. Willie Seaweed carved many versions of the Tsonoqua (Dzunukwa) mask that captures her roles and attributes as a stumbling giant forest and as a possessor of great knowledge and power. This mask represents the smaller scale version used by a chief to state his hereditary position and the agenda for the ceremony that is about to unfold.

The artist in his inscription has referred to the “breaking of the copper” ceremony. The copper is a shield-like object made of pounded copper which would compound in value each time it was presented at a potlatch – the chief would build status with each major potlatch hosted as well as creating obligations that needed to be reciprocated by other chiefs in the room. On occasion, a piece would be cut from the copper and presented to a chief as a gift but the value of the gift may be considered so great that the recipient was essentially bankrupt.