Rick Bartow
For Hyacinth, 2000
drypoint on handmade Japanese kozo
image 4 x 8 in
paper 10 x 13 in
paper 10 x 13 in
Edition of 10
BAR1022
Copyright R.E. Bartow Trusts
$ 700.00
In 1997, Bartow talked about the Yaqui deer dancers: 'In northern Mexico and southern Arizona native people known as Yaqui have a ritual in which dancers wear deer masks and...
In 1997, Bartow talked about the Yaqui deer dancers:
"In northern Mexico and southern Arizona native people known as Yaqui have a ritual in which dancers wear deer masks and headdresses during Pascola season. Both the mask and headdress used in hunting or rituals are manifestations of transformation. Transformational myths are a theme central to Bartow's work. Often, his images portray people becoming animals, or vice-versa. These drawings express Bartow's fascination with the world's powerful spiritual images of transformations found outside the Wiyot nation."
In 1998, Bartow talked about his print, Deer Hunter’s Dream, and deer symbolism:
"First, we always pray for all creation. The old hunting rituals were stripped away so now we simply pray for the deer spirit. We also apologize for our lack of wisdom, and say how sorry we are if we have caused offense in any way.
In this image the deer and the hunter merge. Both know each other. Maybe the hunter is singing I yeh kwee Po-ok. (Hello, haven’t seen you in a while deer.) The hunter dreams, but is not asleep."
In 1999, Bartow spoke of his relationship to the deer:
"Po`ok is the Yurok tribe’s word for deer, Wiyot is holakw`. In hunting deer on the coast, the hunter often wore a deer hide headpiece with the antlers still attached to act as a disguise and a decoy. The background looks like a human, perhaps a hunter. The dark green stripe is because the way that the painting revealed itself was centered too far left. It’s unusual in the use of the umbers and peculiar greens. Also a bit odd in the semi-reality approach.
I make rattles for ceremony from deer hooves. Joe Fedderson, who hunts deer and has a much better eye than I do, creates wonderful renderings of antlers and I, who do not hunt because I use parts of the animal for ceremonial purposes, do not and don’t wish too anyway go hunting, must attain information from photos and fleeting glimpses of the deer - so my antlers are a bit odd."
2001 Notes about the print Deer Dancer from Bartow:
"The work is a tribute to Hyacinth (Joe) David, a traditional carver and a contemporary who has a wide knowledge of traditional forms of NW coast tradition. There is a book out about his being potlatched into Davidson Clan (adopted in Alaska) because of his carving. He has an international reputation, designed NW coast tail of the British Airways, when showed pic of him w/ 747 airplane, inspired him, (whale fin)."
Knowledge from Hyacinth, "(We) shared time together in New Zealand, been to his home. He told of deer dance one time, and it deals with Hyacinth and his traditions and stories…"
In 2013, Bartow commented on masks:
After the events of the last year and the demands of the Smithsonian commission, shapes are in my dreams! I have long been aware of the power of the mask and am intrigued by the fact that no one can figure out why they are so powerful! Mystery is the basic ingredient; a Balinese carver commented on masks created for sale as opposed to ceremonial masks - his comment was that if you build a house someone will move in!
"In northern Mexico and southern Arizona native people known as Yaqui have a ritual in which dancers wear deer masks and headdresses during Pascola season. Both the mask and headdress used in hunting or rituals are manifestations of transformation. Transformational myths are a theme central to Bartow's work. Often, his images portray people becoming animals, or vice-versa. These drawings express Bartow's fascination with the world's powerful spiritual images of transformations found outside the Wiyot nation."
In 1998, Bartow talked about his print, Deer Hunter’s Dream, and deer symbolism:
"First, we always pray for all creation. The old hunting rituals were stripped away so now we simply pray for the deer spirit. We also apologize for our lack of wisdom, and say how sorry we are if we have caused offense in any way.
In this image the deer and the hunter merge. Both know each other. Maybe the hunter is singing I yeh kwee Po-ok. (Hello, haven’t seen you in a while deer.) The hunter dreams, but is not asleep."
In 1999, Bartow spoke of his relationship to the deer:
"Po`ok is the Yurok tribe’s word for deer, Wiyot is holakw`. In hunting deer on the coast, the hunter often wore a deer hide headpiece with the antlers still attached to act as a disguise and a decoy. The background looks like a human, perhaps a hunter. The dark green stripe is because the way that the painting revealed itself was centered too far left. It’s unusual in the use of the umbers and peculiar greens. Also a bit odd in the semi-reality approach.
I make rattles for ceremony from deer hooves. Joe Fedderson, who hunts deer and has a much better eye than I do, creates wonderful renderings of antlers and I, who do not hunt because I use parts of the animal for ceremonial purposes, do not and don’t wish too anyway go hunting, must attain information from photos and fleeting glimpses of the deer - so my antlers are a bit odd."
2001 Notes about the print Deer Dancer from Bartow:
"The work is a tribute to Hyacinth (Joe) David, a traditional carver and a contemporary who has a wide knowledge of traditional forms of NW coast tradition. There is a book out about his being potlatched into Davidson Clan (adopted in Alaska) because of his carving. He has an international reputation, designed NW coast tail of the British Airways, when showed pic of him w/ 747 airplane, inspired him, (whale fin)."
Knowledge from Hyacinth, "(We) shared time together in New Zealand, been to his home. He told of deer dance one time, and it deals with Hyacinth and his traditions and stories…"
In 2013, Bartow commented on masks:
After the events of the last year and the demands of the Smithsonian commission, shapes are in my dreams! I have long been aware of the power of the mask and am intrigued by the fact that no one can figure out why they are so powerful! Mystery is the basic ingredient; a Balinese carver commented on masks created for sale as opposed to ceremonial masks - his comment was that if you build a house someone will move in!