"A World Within" (Burnaby Narrows, Gwaii Haanas), pastel on panel, 16" x 20"

Burnaby Narrows is a biophysical ‘hot spot’, which supports one of the most abundant, diverse, and colorful intertidal communities found in temperate waters anywhere in the world. We entered the narrows where tidal action pushes seawater through a channel that is just 50 metres wide. This provides a nearly constant stream of plankton and nutrients to the organisms living there. Hundreds of marine species have been identified in the narrows. A kaleidoscope of bat stars, turban snails, sunflower stars, clams, and many other creatures make up this colourful slice of marine life. The animals at Burnaby Narrows live in amazing concentrations. The same characteristics that make Burnaby Narrows special also make it one of the most vulnerable places in Gwaii Haanas. Because of the topography of the tides, the rich intertidal life is often exposed, easily trampled, and threatened by warming waters.

"Pacific Outcrops", pastel on panel, 16" x 20" 

At the end of our two-week kayaking and camping journey, a zodiac picked us up at Rose Harbour for the long and bumpy ride north on the waters of temperamental Hecate Strait. Our zodiac fought a heavy northeasterly wind, and the driver took us through some serious waves. In quieter, more protected spots we hugged the shore and saw the majesty of sharp Pacific outcrops and fog-engulfed inland peaks. Gwaii Haanas has a natural heritage forged by the immense power of the earth: the collision of continental plates, the fiery eruptions of volcanoes, and the movement of glaciers.

 "Abalone I" (Haida Gwaii Series) pastel on board, 11" x 14"  Sold

"Abalone I" (Haida Gwaii Series) pastel on board, 11" x 14"  Sold

 "Abalone, aggrandized" (Haida Gwaii Series) pastel on paper, 18.5" x 26.5"   Sold

"Abalone, aggrandized" (Haida Gwaii Series) pastel on paper, 18.5" x 26.5"   Sold

 "Abalone I" (Haida Gwaii Series) pastel on board, 11" x 14"  Sold

"Abalone I" (Haida Gwaii Series) pastel on board, 11" x 14"  Sold

Beneath the rugged windswept coastline of British Columbia lies a complex and unique ecosystem. This is the underwater world of millions of living things. A healthy kelp forest provides shelter and nourishment for numerous creatures, and among them struggling to survive is the Northern Abalone, an endangered marine snail. His world is filled with predators, like sea stars, octopus, and sea otters. The abalone is guided by two tiny antennas, yet its radar system cannot sense the uncertain future that lies ahead. Northern Abalone once flourished in the shallow waters from California to Alaska. They were plentiful in the waters of Haida Gwaii but poaching and commercial harvest in the 1970s pushed abalone to the brink of extinction. Abalone have long been valued by First Nations and were harvest for food and ceremony. Historically, the shells were used for art and ornamentation. Recreational and commercial harvesters also prize abalone for its and meat and the snail is considered a delicacy in global markets. Since 1990 it has been illegal for anyone to take abalone anywhere in British Columbia. Despite a long closure, there has been no sign of abalone recovery in Haida Gwaii. In part this may be due to illegal harvesting, but biological factors are also at play. Haida Nation Fisheries Program and Fisheries and Oceans Canada are working together to help recover and rebuild abalone population.

 "Calm Crossing, Juan Perez Sound (Gwaii Haanas)", pastel on board, 12" x 16"   Sold

"Calm Crossing, Juan Perez Sound (Gwaii Haanas)", pastel on board, 12" x 16"   Sold

Leaving Hotspring Island behind us, we paddled across Juan Perez Sound, the largest stretch of open water that we would encounter on the trip. Conditions were perfect, the water was topped like glass and a gentle swell barely pulsed beneath the surface. If the weather turned on us midway, the 8-mile crossing would have been perilous. The Sound is known for its erratic winds that can switch direction in a heartbeat while not giving up any of their force. Deep grey clouds swirled above us, but we were welcome to cross safely in mercurial water, and we gratefully accepted our windless situation in trade for the calm seas. We were alone in the deep blue. In my painted image of the crossing, we had already arrived to the other side of the Sound and our starting point can just be seen beyond the distant landmasses at the right.

 "Pole at K'aay Llnagaay (Skidegate, Haida Gwaii)", pastel on board, 16" x 12"  Sold

"Pole at K'aay Llnagaay (Skidegate, Haida Gwaii)", pastel on board, 16" x 12"  Sold

The Haida Heritage Centre in Skidegate is located at K’aay Llnagaay or “Sea-Lion Town”, an ancient village site. The Centre was designed to resemble the traditional oceanside Haida village that once stood in its place. The first phase of this massive project was raising six poles over six days in 2001. The poles represent six of the southernmost villages in Haida Gwaii: Skidegate, Ts’aahl, Cumshewa, Skedans, Sgang Gwaay, and Tanu, and are now standing in front of the Haida Heritage Centre. The pole in my painting is the pole of the K’aadaas Gaah K’iiguwaay and the K’una K’iiGawaay clans from the village of T’aanuu Llnagaay (Tanu). The pole was carved by master carver Giitsxaa (Ron Wilson). The five carved creatures on the Tanu pole (killer whale, raven, wolf, dogfish, and eagle) look out onto the Pacific. I sat by the pole for much of the afternoon and envisioned the stretch of beach in front of me as it once was, populated with large cedar canoes, longhouses, and totem poles of all kinds telling the stories associated with an individual or family lineage.

 "Forest Interior", pastel on panel, 12" x 12"  Sold

"Forest Interior", pastel on panel, 12" x 12"  Sold

Walking silently on mounds of soft moss in the forest where a raven’s croaking call is the only sound…

There is nothing like arriving at a place with the feeling that you are the first person ever to visit.

 

"Abalone #3", pastel on board, 12" x 16"

 "Nearing Midnight, Burnaby Strait (Gwaii Haanas)", pastel on board, 12" x 16"   Sold

"Nearing Midnight, Burnaby Strait (Gwaii Haanas)", pastel on board, 12" x 16"   Sold

 "Place of Epiphany", pastel on board, 20" x 16"   Sold

"Place of Epiphany", pastel on board, 20" x 16"   Sold

We stopped for lunch between Koya Bay and Koya Point, and waited for the tides to turn before riding the current to Rose Harbour. Our group scanned the beach finding all sorts of Pacific flotsam; from large bags of Guatemalan coffee to a Japanese green glass fishing float. I separated myself and wandered into a forest of old and new trees. One of the ancient trees I came across was gnarled, replete with the wisdom of innumerable seasons. The young trees were everywhere, taking over. But the old clung on somewhat miraculously. The noon-hour sun pierced through the tree canopy above me, and a smokiness drifted about, like a perpetual campfire of long ago burning in the forest. This ominous haze both petrified and attracted me. In my painting, I tried to capture the contra-light of the moment and the haze creeping between the trees. I titled the work “Place of Epiphany” because it was then that I discovered just how thin the veil is between us mortals and the spirit world. Only later did I learn that this was the site of an ancient Haida village.

 “After the Storm, Wanderer Island”, pastel on panel, 12” x 24”  Sold

“After the Storm, Wanderer Island”, pastel on panel, 12” x 24”  Sold

Hours after we crossed Juan Perez Sound, we meandered down-land seeking a protected cove on what our map told us was (appropriately named) “Wanderer Island”. Dark violet clouds gathered above and the roar of a thunderstorm hurried us along. Just as we beached and hung up our gear on branches to air out from the paddle, rain descended. Drenched, we hauled our kayaks onto the pebbly beach and pitched our tents quickly, rushing in the downpour. The darkness above us suddenly separated and piercing sunlight bathed the island across from our cove highlighting the ochres and greens in the tree tips. Behind the little island, two larger landforms were brooding blue in the storm that passed us. 

"Big Sky, Gwaii Haaanas", pastel on dibond panel, 15" x 28"

 "Nocturne, Dixon Entrace (Old Masset), Haida Gwaii", pastel on board, 18" x 24"  Sold

"Nocturne, Dixon Entrace (Old Masset), Haida Gwaii", pastel on board, 18" x 24"  Sold

Our last days were spent in a lodge owned by fellow kayaker and artist April White (SGaana Jaad – Killer Whale Woman). The lodge backs onto Dixon Entrance, a strait between Haida Gwaii and Alaska. At 65 kilometres wide, Dixon Entrance connects the Pacific Ocean with Hecate Strait and the inside coastal passages. It was named for George Dixon, whose exploration of the BC coast in the 1780s helped to initiate the maritime fur trade.

Just outside the sliding rear door of April’s lodge is a feast of tall grasses, which gave me an opportunity to play with an endless palette of ochres, greens, violets, and blues in the painting. The low lying, dense clouds above move the eye to the distant land mass at the horizon. I tried to capture the last sliver of light as it fell on the waters of the strait. Night comes late to this part of the world.