Art Thompson

Art Thompson (1948-2003)
Art Thompson successfully established himself as a native artist in the Victoria area. Thompson was born in the storied village of Whyac, (NuuChah-Nulth Nation) an isolated village on the western end of Nitinaht Lake, of Vancouver Island. Thompson’s roots were planted firmly in both Salish (Cowichan) and the Nuu-chah-nulth (Ditidaht). Thompson’s father and grandfather were noted canoe builders, mask and totem carvers. Emulating his predecessors, Thompson started carving and drawing at a very early age.

Educated in the environment of the Residential School, his thirst for artistic and cultural values were not altered, as was the case with many of the students during this time era. Never the less, the ethnocentric values of the residential school system did not get in the way when it was time for Thompson to return to the land of his people. Close to his twelve birthday, Art along with his brothers and sister were initiated into the Tlu-kwalla,(wolf society) an ancient tribal custom still practiced today. In retrospect, Art recalls that this was a valuable turning point in his cultural and artistic evaluation. Witnessing tribal custom as well as having the experience of watching dance paraphernalia in action.

One of Art’s greatest gift’s throughout his life, are the times when he received his traditional names. They are as follows:
INHERITED NAME, fathers family: “Thlop-kee-tupp”
INHERITED NAME, mothers family: “Pol-qee-num”
ACQUIRED NAME, 1988,Charlie family potlatch at Ahousat,”Cheeq-meek”

Art left school at 13 and worked as a logger. Always intrigued by tribal ceremony and carving, he recuperated from a back injury in Victoria by carving and taking college art classes. He experimented with various aboriginal art styles, but gravitated to that of his own ancestors. Art’s artistic abilities were enhanced considerably while attending Camosun College as well as the Vancouver School of Art. He became quite comfortable working in a variety of mediums including oils, pastels, pencil and acrylics, but his passion was always with the incredible arts of his ancestors. The pursuit of this knowledge developed Art’s skill in various traditional mediums, such as, wood carving, ivory carving and traditional drawing and painting.

It was not until the early 1970’s that his abilities caught the eye of a knowledgeable gallery owner that his career accelerated. His career expanded from earlier schooling to include wood-carving once again, as well as doing original paintings for limited edition serigraphs. During the course of his long distinguished career, Art developed a very unique style, having studied the arts of other tribal groups of the Northwest, as well as the arts of the Nuu-chah-nulth. Experimenting on his own with engraving technique, Art also became an accomplished jeweler. He created beautiful gold and silver jewelry, by using many of the motifs of his celebrated ancestry.

Art’s pieces can be found in major, private, corporate and institutional collections world-wide including the Museum of Civilization in Hull, Quebec, the Royal British Columbia Museum in Victoria, The Canadian High Commission in Singapore, and Stanford University in the United States. His artistic achievements have been photographed and documented in numerous magazines, books, periodicals, many of which include feature articles.

Art had a willingness to educate art enthusiasts on a local as well as on the international level and often participated in seminars and public demonstrations. His audiences varied from the young and uneducated to the knowledgeable art collectors. His seminars brought him to many corners of the world, including far away as Singapore, New York New Zealand and Los Angeles. Often Art was the guest of highly established institutions, such as, American Museum of Natural History, the Southwest Museum and the Canadian High Commission in Singapore. Many organizations and institutions benefited from Thompson’s knowledge throughout his career.

Art Thompson died on March 30, 2003 in Victoria, BC.

Major Commissions: Art Thompson, Ditidaht Tribe
2002 Art Thompson and Don Yeomans Serigraph Retrospective, Alcheringa Gallery, Victoria, BC
1996 Spirits of the Forest, Sea and Sky: Masks by Mastercarvers of the Northwest Coast, Alcheringa Gallery, Victoria, BC
1995 art ensemble for the Cowichan Tribes.
1994 major art piece, Swans Hotel Art Collection
1994 art ensemble, for the Cowichan Tribes.
1993 Two 9 ft. totem-poles for Aboriginal Affairs, Victoria, B.C.
1993 Logo design for the Port Simpson Band, B.C.
1993 Logo design for the Pacheenaht Band, Port Renfrew, B.C.
1993 Native Co-ordinator, Medals Design for the Commonwealth Games 1994, Victoria, B.C.
1993 16 ft. Totem-pole for the Cowichan Trout Hatchery in Duncan, B.C.
1992 University of Victoria, Nuu-chah-nulth artist assisting in the carving of the Chancellors Chair, Victoria, B.C.
1992 Logo for the Hudson Bay Company, ( Wild Fur Council ) Toronto, Ontario.
1992 22 ft. Totem-pole for the Canadian Embassy, Bangkok, Thailand.
1992 6 ft. Totem-pole for the Montessori School, Victoria,B.C.
1992 Mask for the Indian and Northern Affairs Collection, Ottawa, Ontario.
1992 Design use on packaging for Sea-change Seafood Ltd., Saltspring Island, B.C.
1992 Native co-ordinator, for the design and manufacture of the Queens Baton, Commonwealth Games 1994, Victoria, B.C.
1992 15 ft. Totem-pole for Victoria Convention Centre
1991 Public Demonstration, McMicheal Museum, Klienburg,Ont.
1990 Assistant carver, 40 ft. Totem-pole for the Commonwealth Games in Auckland, New Zealand.
1989 Carved Panel and limited edition serigraph for the Alberni Valley Museum, Port Alberni, B.C.
1989 Assistant carver, 40 ft.Totem-pole for the Canadian
Museum of Civilization, Hull, Quebec.
1989 40 ft. Totem-pole for the Museum of Anthropology, U.B.C. Vancouver, B.C.
1988 Assistant carver, 40 ft. Totem-pole for the City of Vancouver, Stanley Park, Vancouver, B.C.
1987 Public Demonstration, Denver Museum of Natural History, Denver, Colorado.
1987 Assistant Carver, 40 ft. Totem-pole ( Ehatttesaht Pole ) Royal B.C. Museum, Victoria, B.C.
1986 Mask Ensemble, for the Liegh Whackey Woodson Art Museum. Wausau, Wisconsin.
1982 Carved Panel, for Hobbs, Strauss, Dean and Wilder Law Firm, Washington, D.C.
1981 Painted House Front and Kiosk Panels, for Parks Canada, Tofino, B.C.
1978 Totem-pole restoration, for Washburns General Store, Neah Bay, Washington.
1975 Head carver, 40 ft.Totem-pole. Webster Thompson Memorial Pole, Nitiaht Lake, B.C.

PUBLICATIONS
1988 ZIETGENOSSICHE KIRNST der INDIANER und ESKIMOS IN CANADA
Gerhard Hoffman.
1986 LOST AND FOUND TRADITIONS, Ralph T. Coe.
1986 AMERICAN INDIAN ART MAGAZINE, Hall, Blackman.
1986 ART IN VICTORIA, Nicholas Tuele.
1984 THE LEGACY, McNair, Hoover and Neary.
1984 HAIDA POTLATCH, Steltzer.
1982 CHILKAT DANCING BLANKET, Cheryl Samuel.
1982 AMERICAN INDIAN ART MAGAZINE, Hall, Blackman.
1979 LOOKING AT INDIAN ART OF THE NORTHWEST COAST, H. Stewart