Art Thompson created numerous transformation masks and at least two per year during the final decade of his life. This mask showcases his diverse talents in sculpture, design, and articulation. Thompson is considered one of the best designers of the modern era and was particularly known for his innate understanding of classic Nuu-chah-nulth forms as well as for his personal and contemporary contributions. His well-finished sculptures are complemented by detailed painting which folds and grips the carved surfaces with tension and dramatic effect.

Here, the two Ravens framing the blackened mouth (a feature to disguise the dancer and highlight the carved mask) and the flared Raven’s tail on the forehead of the internal human mask are examples of Thompson’s skill as a painter and his understanding of the power of masks as seen by firelight. Following the carving and detailed painting of the outer mask, he would perform the final cut, splitting the mask into two parts using a hand saw, a basic skill but one requiring both confidence and experience with the tool. His articulation was precise, and wires and pulleys were used to open and close the mask easily while being danced. It also needed to open and close many times properly when displayed on a wall.

The mask represents Raven disguised with goat fur and hints at his intention to transform. The internal painted designs flanking the human form show Raven with the box of daylight secured in its beak – a reference to the story of Raven stealing the light from the Sky Chief and then being forced to release it into the sky luminating the world. This is one of many stories of Raven traveling and meddling, stealing, and participating in the events that changed the world.

Gary Wyatt