H E N R Y G R E E N
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Images shown are representative of the artist
Please contact the gallery for availability
Please contact the gallery for availability
A R T I S T S T A T E M E N T
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Henry Green
Tsimshian - Gitando Tribe
(Eagle) Lax Skeek Crest
Northwest Coast Henry Green (b. 1956) was raised in Lax Kw’alaams (Port Simpson), on the coast of British Columbia in a family and community rich in tradition. Henry credits Freda Deising and Don Yeomans in particular for stimulating his interest in the arts and carving, George Clutesi for developing his appreciation for culture and storytelling. Henry Green has pursued formal art training at the Emily Carr College of Art and Design in Vancouver, British Columbia (1986 - 87) and the Institute of San Miguel D'Allende in Mexico (1982 - 83). As well as an exceptional designer, Henry Green is a highly accomplished jewelry engraver and wood carver. Henry is strongly committed to native educational initiatives and developmental programmes. His work is in private and corporate collections throughout North America and Europe. His impact has been guided and sustained by an intensive approach to specific Tshimshian design, ideology and mythology. Within this context, his commitment for stylistic purity has allowed for a rich innovative portfolio of multi-media processes.
Tsimshian - Gitando Tribe
(Eagle) Lax Skeek Crest
Northwest Coast Henry Green (b. 1956) was raised in Lax Kw’alaams (Port Simpson), on the coast of British Columbia in a family and community rich in tradition. Henry credits Freda Deising and Don Yeomans in particular for stimulating his interest in the arts and carving, George Clutesi for developing his appreciation for culture and storytelling. Henry Green has pursued formal art training at the Emily Carr College of Art and Design in Vancouver, British Columbia (1986 - 87) and the Institute of San Miguel D'Allende in Mexico (1982 - 83). As well as an exceptional designer, Henry Green is a highly accomplished jewelry engraver and wood carver. Henry is strongly committed to native educational initiatives and developmental programmes. His work is in private and corporate collections throughout North America and Europe. His impact has been guided and sustained by an intensive approach to specific Tshimshian design, ideology and mythology. Within this context, his commitment for stylistic purity has allowed for a rich innovative portfolio of multi-media processes.
