“Challenging Traditions” by Ian M. Thom

•October 6, 2011 • Leave a Comment

Here is an excerpt about Alano Edzerza, found in the book “Challenging Traditions” (2009).

     Like so many of his contemporaries, Alano Edzerza, a young artist of Tahltan ancestry, did not originally consider an artistic career. Born in Victoria in 1980, he spent his childhood between that city and Terrace. Although interested in art from an early age, Edzerza pursued a number of alternative careers at college before deciding to try and make his living as an artist. In his pursuit he was strongly influenced by both his mother, who worked at the Royal British Columbia Museum and who encouraged him to look at and read books about First Nations art when he was young, and his uncle, a buyer for the museum’s gift shop, who introduced him to carvers such as Stan Hunt, Terry Starr and Art Thompson. To begin with, Edzerza was not particularly interested in First Nations art, and his first works were in the western European tradition, which he felt was the real art. As a result he spent a number of years “floating around”; he went to college to train as an ambulance attendant, then switched to computers and enrolled in a bachelor’s program. But none of these avenues proved fulfilling.

     The example of his cousin, the working artist Terrence Campbell, decided Edzerza on a different course. In his late teens he began to work with Campbell, travelling with him to Arizona where he worked with the jeweller Rick Charlie, learning casting and engraving. This training marked the beginning of Edzerza’s career as an artist. When he returned to Canada at age twenty-one, he continued jewellery-making, working with his cousin and studying the work of artists such as Bill Reid.

     He began to draw extensively, and drawing continues to provide the basis for all his work. Indeed, Edzerza feels that he “wants to concentrate on drawing, which is the life force behind all art.” An artist, he feels, must “learn the rules, but must be an artist to make the rules work.” For Edzerza it “all comes down to drawing and designing: ninety-nine per cent of the focus is on drawing.”

     From jewellery, Edzerza moved on to working with glass, sculpting, painting and printmaking. He uses his drawings as sources for all of these works but generally chooses to realize a particular form in what he decides is the strongest medium for it. He has worked intensively with glass from a time when few others were doing so; he enjoyed the collaborative process and was lucky to find co-workers who could assist him in realizing his design ideas and allow him to closely control the pieces.

     While his own work was progressing, Edzerza continued to spend a great deal of time looking at the work of other artists, notably Dempsey Bob, Dale Campbell and Stan Bevan, and reading about and studying Tsimshian style, which he regards as the strictest of northern styles. He produced work steadily, making glass jewellery and occasionally paintings, but much of this work was determined by the vagaries of the marketplace.

     As Edzerza himself notes, his urban upbringing afforded him little opportunity to participate in ceremony. Invitations to do so, from the people of Alert Bay and artist Beau Dick, have been important in broadening his understanding of the importance of art and ritual and have kindled a desire to explore this aspect of his own heritage.

     Edzerza’s strong sense of design has been critical to his success, both aesthetically and within the marketplace. He views formline art as having a universal application, but he is also interested in a variety of other art forms, including Japanese and African art and art of the Pacific Rim. He notes that ongoing observation and appreciation is critical to his own learning process. The examples of other artists, such as Robert Davidson, have suggested directions for Edzerza to take his own art, notably into painting and printmaking, but he has developed a stylistic identity all his own. Although he has not been formally trained in the use of colour and wants to study this aspect of art more formally, his striking colour combinations, a feature of his paintings, prints and glasswork, have been critical to his success.

     The 2006 work His Face of Blankets is a notable example of his skills as a designer. Using a stylized face form from a Chilkat blanket, Edzerza has created a vivid contemporary version using modern design materials while paying respect to earlier artwork. The face is repeated eight times in total, in a totem of four running up the centre of the work and then, surprisingly, in four inverted half-faces flanking the totem on either side. The decision to use sandblasted glass raised above the Plexiglas and cedar background gives the work a greater sense of substance and more clearly defines the repeating linear pattern of the design. The yellow colour of the Plexiglas echoes the traditional yellow used in Chilkat blankets, but his work is clearly of the present day.

     Equally striking, and perhaps even more inventive, is the 2007 screen print Thinking Like a Raven. Although it contains only three colours, black, grey and red, it is an exciting visual image. Edzerza, who does his own printing, regards the medium of screen printing as important for advancing his design skills, and the crisp linear patter and scintillating use of the compositional field show how well-honed these skill snow are. The close cropping of the image suggests the influence of Japanese art, but the sure use of the formline, U shapes and ovoids prove that the artist has absorbed his studies well. Also striking is that the work it does not recall the graphic style of anyone else; it is clearly a work by Alano Edzerza alone.

     Still at an early stage of his career, Edzerza is often concerned about the realities of paying the rent. But his imagination has taken his art in rich and varied directions. There seems little doubt that with his energy and skill he will be a forceful presence in the art world for years to come.

– Ian M. Thom

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New Eagle Landing Pics

•September 22, 2011 • Leave a Comment

Alano just visited the Eagle Landing site and snapped a few pics. He was first approached by Chief David Jimmie of the Squaila First Nation to decorate a new development project being constructed on their land. The original sketch for the project looks like this:

This is one of Alano’s latest pieces, and one of his best. Hopefully there’s more custom work to come in the future!

Edzerza Gallery Newsletter

•September 16, 2011 • Leave a Comment

First of all, happy Friday everyone!

We’ve been working on a mailing list for quite a while now, and we think we have a nice, elegant solution. I’ve added a lot of your emails to the list already, but just in case you’re new to the Gallery, please sign up with the “Subscribe!” button on the sidebar! We’ll be sending general updates and interesting news, nothing too annoying. We promise.

Native American Apparel: NAA002 – Eagles Landing

•September 14, 2011 • Leave a Comment
Eagles Landing on ladies racerback dress

Eagles Landing on ladies racerback dress

“Eagle Landing” was originally commissioned Chief David Jimmie of the Squaila First Nation. The original purpose for this piece was a development project in the Squaila Nation, which turned out awesome. Alano has now refined and adapted the artwork for his new line of clothing, “Native American Apparel”.


Eagle is the symbol of great wisdom, authority and power. One of the principal crests of the Haida, Tsimshaian and Kwakuitl Tribes. Many myths and legends surround the Eagle. Eagle down, a symbol of peace and friendship, was, and still is, sprinkled before guests in welcome dances and other ceremonial occasions. Eagle feathers were used in rituals and worn on masks and headdresses.

Native American Apparel: NAA001 – Hummingbird

•September 13, 2011 • Leave a Comment

Blue Hummingbirds on Ladies White Tshirt

New at Alano Edzerza’s Etsy Store: NAA001.

This T-shirt is hand printed at home in Vancouver by native artist Alano Edzerza. The hummingbird print is based off a limited edition triptych of Alano’s called “Charmed”. A group of hummingbirds is called a “Charm” of hummingbirds.

The Hummingbird is a reminder of the fragility of nature. This animal symbolizes love, beauty, intelligence, friendship and playfulness.

FreshnessMag reports on Edzerza Sports!

•April 25, 2011 • Leave a Comment

Freshnessmag.com surprised us all by posting this story late last week. Luckily they liked the Jacket! We worked really hard to create this Jacket; a mix of traditional art and technical outer wear. Having fully taped seams was a big challenge for us, as well as the over sized print on the sleeve. All these elements came together beautifully to create the hand-crafted product you see here – made proudly in Vancouver, Canada.

We can’t wait to see how the Jacket is received as more people learn about it. Let us know what you think in the comments section below!

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Alano Edzerza’s newest collection

•April 13, 2011 • Leave a Comment
Native American ApparelNative American ApparelNative American ApparelNative American ApparelNative American ApparelNative American Apparel
Native American ApparelNative American ApparelNative American ApparelNative American ApparelNative American ApparelNative American Apparel
Native American ApparelNative American ApparelNative American ApparelNative American ApparelNative American ApparelNative American Apparel
Native American ApparelNative American Apparel

Featuring northwest coast formline, eagles, ravens, wolves and hummingbirds – this is Alano’s most modern work yet!

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