Jesse Brillon

Artist Statement

When I reflect about the history of my people, and contemplate about the time between pre-colonization to now, I feel torn. While I feel rich to have such a connection to my culture and to the art form, at the same time I am struck and wounded by what has been lost. Haidas have lost all practices pertaining to specific dance societies, and most detail around the intricate workings of our potlatch system. A contrasting difference between Haidas and other tribes on the coast— such as the Kwakwakawakw for example, is not only did the Kwakwakawakw continue potlatching when other groups ceased to practice — their culture was thoroughly documented. Whereas the Haida had very little written works, film or photographs for future generations to draw from to reinvigorate such traditions.

Another contrast, is that Haidas were early adopters to the ways of white people. I imagine this as a reaction to every literal “survival mode” from population loss from the small pox epidemics. Village after village was wiped out. Along with them infinite amounts of cultural knowledge. One can only imagine what the loss of more than 90% of your peoples population within mere decades could do to the soul of the survivors. In hopes of living through this period of sweeping change, it is my assumption that Haida survivors were at a loss as to how to recover from such devastation. Without the ability to restore cultural traditions, they fell away.

The one thing that not only survived this period, but continued to proliferate was Haida art. This comes as no surprise. From the earliest contact, our art was sought after by explorers, settlers, wealthy travellers, and of course, both private and museum collectors. Haida artists have always been able to make a living from the art form. Like my ancestors, my primary income is from commercial fishing and hand-sculpted/engraved jewelry in precious metals and wood carving.

While engraved jewelry was a post-colonial invention, it was also born out of necessity of the times. Historically, Haida’s tattooed their clan and crests on their bodies. After being heavily missionized, Haida’s had to adapt to a method of showing their crests in a way that could be easily removed and concealed. Engraved bracelets in copper and silver became a prized and highly revered potlatch gift. Haida bracelets were disseminated up and down the coast, presumably through the potlatch system and intermarriage.

Traditionally, bracelet stacks were standard potlatch practice. Today, stacks of bracelets are incredibly rare and it comes down to economics. Not only do contemporary artists not have the ability financially to stockpile in such numbers, but Chiefs rarely have the means to pay artists to create such quantities either. And so I have created only one. The significance is to demonstrate the contrast to our history, and to indicate the economics of most contemporary artists, and their financial inability to “stockpile” for potlatch or even for sale.