Art Making Tradition

The effects of government assimilation policies destroyed the art tradition amongst the Tsimshian including the Gitselasu. The recent return of the art making tradition in the community is associated with Dempsey Bob and members of his family. Bob is a Tahltan-Tlingit artist from Prince Rupert. He has taught the art form to his maternal nephew Stan Bevan of Kitselas. Bevan has become the master artist of the Gitselasu. He has produced major works such as totem poles and wall sculptures for the community of Kitselas as well as for various public and private institutions.

Stan Bevan and his cousin Ken McNeil have produced a variety of major works in the Terrace area. They carved the 13 foot Grizzly Bear Totem at Kitselas as well as four 8 foot totem poles for the Muks-Kum-Ol housing society in Terrace. Bevan is also a teacher. He has taught the art in the villages of Kitselas and Kitsumkalum as well as elsewhere. Carving has permitted Bevan to earn a living from his art as well as contribute to his culture. The work that he produces for public institutions and private buyers also promotes aspects of Gitselasu culture to others.

The Grizzly Pole carved by Stan Bevan and Ken McNeil. The lower figure represents a copper; a symbol of wealth among Northwest Coast First Nations. Photograph by Morris Mason.

A Brief Profile of Master Carver Stan Bevan

Stan Bevan, born in 1961 has ancestral connection to three nations, Tahltan, Tlingit and Tsimshian. He studied at the Gitanmaax School of Northwest Coast Art in Hazelton and apprenticed under his uncle, Dempsey Bob. Stan's art reflects the powerful and strong Tahltan/Tlingit styles. Bold lines and a dramatic use of wood give his work a sense that reflects the traditional culture and the innovative nature of the particular artist.

Stan Bevan's work is held in private and museum collections worldwide and his work has been shown in International Art Fairs in Los Angeles, Chicago, Seattle and Belgium. Major public works have been displayed at Expo '92 in Seville, Spain, in a new Community Cultural Centre in Owase, Japan, and in private collections in Florida, California, Washington, Utah, New York, British Columbia and Sweden. Stan has been an integral part of many major group exhibitions from 1981 through 1995 including "Opening of the Motherland Gallery" in Fukuoka, Japan, and "Spirit Faces" at the Inuit Gallery, and has also been featured in several publications and films. Stan has been involved with teaching Northwest Coast design and passing on the knowledge he has acquired, since 1982.

The art continues to be in our family. It is very important to me. I know that the art has always been there. There has never been a time, even when there were not many pieces being done that we did not make some art in our family. The thread has continuously remained in place.
I realize that I was taught in a traditional manner. This was done by my maternal uncle, Dempsey Bob. I was taught the songs and the stories which form the basis for the art and dance. For me, the dance is a very important part of understanding the art form.
The old things were always art, The new pieces, properly done, continue that tradition. With worldwide recognition for the new pieces, the art will be as strong as it has always been. I feel that my work can contribute to the development of that artistic recognition of the Northwest Coast art form.

Stan Bevan, Master Carver