Joe David stands among the most influential and inventive Northwest Coast artists of his generation. Together with Haa'yuups/Ron Hamilton (b. 1948), Art Thompson (1948-2003), and Tim Paul (b. 1950, see next Lot 54), David has played a vital role in the resurgence of Nuu-chah-nulth art and the renewal of its cultural practices. His mastery extends across several distinct artistic traditions of the Northwest Coast, yet his work is never confined by convention. With a restless imagination and a profound sensitivity to form and material, he continues to explore new media and possibilities of expression. His work is represented in the Metropolitan Museum of Art in New York, the American Museum of Natural History, the Museum of Anthropology at UBC (MOA), and the Burke Museum, as well as in numerous distinguished private and corporate collections.

Created in 1982, this monumental mask is David's interpretation of a historic Tla-o-qui-aht Secret Society mask and a splendid early example of the revival of Nuu-chah-nulth carving traditions. Its elaborate construction consists of four principal elements: the boldly modelled human face, the Wolf headdress, a brilliantly painted fan that spreads above the head, and a long fringe of finely hammered cedar bark. Each element contributes to the extraordinary silhouette, from the sweeping spread of the fan to the soft, shredded strands of cedar that descend beneath the chin. Like its historic predecessors, the mask was conceived for performance in the longhouse, where the swaying fringe and unfolding fan would transform the sculpture through movement. What appears formidable in stillness must have been magnificent in motion.

The carving itself is masterful. Broad brows sweep above almond-shaped eyes, while a long, straight nose descends towards a wide, sculpted mouth. These substantial forms are complemented by the sinuous sweep of painted designs, their curves and contours following the carved surfaces with great sensitivity. Thick bands of black and red establish the principal divisions of the face, while split-U forms and sweeping eyebrows recall the distinctive design vocabulary of historic Nuu-chah-nulth masks. Above, the fan introduces a splendid succession of red, black, yellow, and green, its slender slats extending outward in a brilliant display of colour. The contrast between the smooth, solid surfaces of the carved wood and the fibrous softness of the cedar bark gives the whole an especially satisfying variety of textures.

David's accomplishment lies in the complete command of these diverse elements. Carving, colour, construction, and ceremonial function are brought together with an exceptional understanding of the traditions from which the mask emerges. Both monumental in scale and meticulous in execution, this magnificent work belongs among the finest achievements of contemporary Nuu-chah-nulth sculpture.

FA