John 15:13, Hebrews 9:28
Item number Nb7.238 from the MOA: University of British Columbia.
Item number Nb7.238 from the MOA: University of British Columbia.
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The head of crucified Christ is portrayed through the use of traditional Northwest Coast elements of design. The red form line defines the features of the face and molds the negative white space into ovoids, split u's, and s forms that represent the hair, the crown of thorns, and the expression of agony. A four way split forms a cross on the chin. A stabilizing effect is achieved by the six split lines emerging from the head. Pencil inscription across the bottom reads 'JOHN 15:13 HEBREWS 9:28 Roy Henry Vickers 14/7/76'. The print is on a vertically rectangular, light white paper piece.
This silk-screened print is an example of the application of aspects of traditional two-dimensional Northwest Coast design to a contemporary form of graphic art.
contemporary art
The crucified Christ symbolizes the transfer of sin from man to Christ. The relevant texts are John 15:13; Hebrews 9:28.
The artist, one time president of the Northwest Coast Indian Artists Guild, received his training at the school of Northwest Coast Indian art at Ksan, Hazelton. In his work he frequently combines Christian with Tsimshian themes.
This data has been provided to the RRN by the MOA: University of British Columbia. We've used it to provide the information on the Data tab.
contemporary art
The crucified Christ symbolizes the transfer of sin from man to Christ. The relevant texts are John 15:13; Hebrews 9:28.
The head of crucified Christ is portrayed through the use of traditional Northwest Coast elements of design. The red form line defines the features of the face and molds the negative white space into ovoids, split u's, and s forms that represent the hair, the crown of thorns, and the expression of agony. A four way split forms a cross on the chin. A stabilizing effect is achieved by the six split lines emerging from the head. Pencil inscription across the bottom reads 'JOHN 15:13 HEBREWS 9:28 Roy Henry Vickers 14/7/76'. The print is on a vertically rectangular, light white paper piece.
This silk-screened print is an example of the application of aspects of traditional two-dimensional Northwest Coast design to a contemporary form of graphic art.
The artist, one time president of the Northwest Coast Indian Artists Guild, received his training at the school of Northwest Coast Indian art at Ksan, Hazelton. In his work he frequently combines Christian with Tsimshian themes.
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