Unlike other brightly coloured Kwakwa̱ka̱ʼwakw masks, Ellen Neel’s unpainted works highlight the natural wood grain and her meticulous carving, inviting viewers to contemplate both the craftsmanship and the inherent beauty of the cedar wood. Such a choice reflects Neel’s sophisticated understanding of her audience and her embrace of Modernist art aesthetics. Like the Modernist movement's emphasis on pure form, Neel’s unpainted works focus on the sculptural qualities of her carving, showcasing the beauty of material itself.

This approach also resonates with mid-20th century Japanese cryptomeria sculptures, crafted from so-called "Japanese Cedar" and celebrated for their simple, unadorned beauty. These creations became popular in North America after World War II, as returning individuals brought back art they had encountered abroad. Likewise, Neel was undoubtedly exposed to contemporary design trends, including the work of the newly established Witco in neighbouring Seattle, whose wood carvings were central to the mid-century Tiki movement in North America. Neel’s awareness of such trends, combined with her savvy business acumen, enabled her to seamlessly blend her traditional craftsmanship with contemporary tastes, making her work both culturally significant and strategically attuned to the art trends of her time.

References: For additional information on Neel’s career see Phil Nuytten, The Totem Carvers: Charlie James, Ellen Neel, Mungo Martin, (Vancouver: Panorama Press, Ltd., 1982), pp. 44-74. See also Christopher W. Smith's contributions in Carvings and Commerce: Model Totem Poles 1880-2010, (Saskatoon: Mendel Art Gallery / Seattle: University of Washington Press, 2011), pp. 130-132. Neel is discussed variously in Aldona Jonatis, Art of the Northwest Coast, (Seattle: University of Washington Press, 2006) and in Ronald William Hawker, Yakuglas' legacy : the art and times of Charlie James, (Toronto: University of Toronto Press, 2016). See also Scott Watson’s essay “Art/Craft in Early 20th Century,” eds. Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ḳe-in, Native Art of the Northwest Coast: A History of Changing Ideas, (Vancouver: UBC Press, 2013), pp. 348-378. As of this publication, the text is not yet available, but we are confident that Ellen Neel’s works will be prominently featured in Curve! Women Carvers on the Northwest Coast, curated by Curtis Collins and Dana Claxton. The accompanying exhibition will run from November 23, 2024, to May 5, 2025 at the Audain Art Museum in Whistler, BC.

NB: First Arts acknowledges an error in our printed catalogue, where we mistakenly stated that Ellen Neel resided in Seattle. We apologize for this oversight and appreciate your understanding.