Frontlet c. 1820

Editor: Here we have a frontlet, circa 1820, created by the Tsimshian people. It’s made of carved wood and pigment, and inlaid with iridescent shell. It's really striking; the face seems so serious, almost stern. What can you tell me about this piece? Curator: This work invites a deep consideration of the materials and labor involved in its creation, and their relation to the social structure of the Tsimshian. We have wood, meticulously carved; pigment, painstakingly applied; and those beautiful shells, likely obtained through extensive trade networks. What does that combination of materials suggest to you about status and access? Editor: Well, the different materials suggest maybe different levels of skill to obtain them? Or perhaps indicate the rank of the person who would have worn it? Curator: Precisely. Consider the labour. Carving requires specialized knowledge and tools. Pigment preparation could have been equally complex. Sourcing those shells –that demands trade and exchange relationships. This frontlet embodies a convergence of different craft specializations, all contributing to a single object of high status. Think of the maker, the carver, the trader. Editor: So, it is less about what the frontlet depicts, and more about what it represents in terms of economic relationships and craft practices? Curator: Exactly. This piece isn’t just an aesthetic object; it is a material record of Tsimshian social and economic systems, illustrating how craft, labor, and trade interweave. It makes me think about how the division of labor impacts artistry today. Editor: I’m starting to look at it with new eyes, considering all the work and social context embedded in these materials. Curator: Seeing art through a material lens can reveal so much about past societies, as well as our own.