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An abstract drawing of a whale on a white business card. The front-side is a vertically oriented image of a whale drawn in purple ink and light grey pencil. The body of the whale, positioned in the middle of the page, is an oval with a purple border; the interior of the oval is white. Extending upwards from the oval to the top edge of the page is the dorsal fin; the outline of the fin is purple and the interior space is white. Drawn in pencil at the base of the dorsal fin is a circular blowhole. The pectoral fin is drawn underneath the oval; a purple circle is positioned at the body-fin joint. Between the pectoral fin and the oval body is a short tower-shape drawn in pencil. Below the pectoral fin is the whale's symmetrical tail; the tail flukes are outlined in purple ink. A pencil square with a cross is lightly drawn in the background space of the tail. The reverse-side of the page is horizontally oriented and machine-printed. Positioned on the left-side of the paper is a small image of a tree surrounded by a green forest. To the right is the commercial information for the artist Jill Paris Rody, printed in black and blue ink.

History Of Use

These 62 small works (3223/1-62) comprise a collection of drawings in pencil, ink, pencil crayon, and felt pen made by the artist between the years 1968 and 2015. During that period the artist has identified himself by the following names: Ron Hamilton; Hupquatchew; Ki-ke-in; Kwayatsapalth; Chuuchkamalthnii; and Haa’yuups. The drawings are, for the most part, applied to the backs of bookmarks acquired from a range of bookshops; some are applied to other pieces of paper or cutouts from his earlier silkscreen prints. Many of the images represent killer whales, often in conjunction with accoutrements and symbols of Nuu-chah-nulth whaling. The juxtaposition of bookmark and representation of Nuu-chah-nulth himwits’a, or narrative, is a deliberate and meaningful placement of two distinct knowledge systems in relationship with one another. Ephemeral drawings like these were not created for the market; the artist has long made them for himself and sometimes as gifts for relatives and friends; they are a way of sharing his knowledge and experience about Nuu-chah-nulth ways of knowing, thinking about, and being in this world; they are expressive of what he calls kiitskiitsa: marks made with intention.

Item History

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