Contents
Introduction xii I A Sense of Place 1
2
International Terminal Building
(Pre-Security)
33 Welcome Figures
Joe David
34 The Spirit of Haida Gwaii: The Jade Canoe
Bill Reid
38 The Great Wave
Lutz Haufschild
1
Canada Customs Hall
(Post-Security)
19 Musqueam Welcome Figures 23 Flight (Spindle Whorl)
Susan Point
27 Out of the Silence
Krista Point, Robyn Sparrow,
Debra Sparrow, Gina Grant
and Helen Callbreath
5
Domestic Terminal Building
(Post-Security)
68 The Rivers Monument
Marianne Nicolson
70 Snuw’uy’ulth
John Marston
75 Freedom to Move 78 Sea to Sky
Steve Smith
80 Split Bear Panel 81 Thunderbird Panel 83 Raven House Posts
Roy Henry Vickers
6
Domestic Terminal Building
(Pre-Security)
86 Hugging the World
Robert Davidson
91 Human/Bear Mask 92 Bear/Human Mask
Dempsey Bob
94 Thunderbird and Killer Whale
Richard Hunt
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3
International Terminal Building
(Post-Security)
42 The Story of Fog Woman and Raven
Dempsey Bob
47 Orca Chief and the Kelp Forest
Lyle Wilson and John Nutter
48 Net Work
Eric Robertson
52 King Salmon Housefront
Roy Henry Vickers
4
U.S. Arrivals
(Post-Security)
57 Hetux
Connie Watts
58 Rainbow off the Beach
Tim Paul
59 Origin of Light
Lyle Wilson
60 Animal Carvings
Stephen Bruce
64 Transformation Mask
Stan Wamiss
7
Canada Line
98 Celebrating Flight
Don Yeomans
102 K’san Totems
Walter Harris and Earl Muldoe
105 Cedar Connection
Susan Point
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Afterword 109 I Acknowledgements 110
xii
As travellers from abroad arrive at Vancouver International Airport (YVR) and enter the International Terminal, they experi-ence a powerful and unique welcome. Having passed long walls of glass framing views of ocean, mountains and deep green forest, they encounter a high view of Canada Customs Hall from a large and beautiful landing. The landing serves as a kind of stage, where distinctive cultural and natural elements enact a drama of place. Here, water cascades down a vertical rock face behind an enormous wooden sculpture. Carved in red cedar by leading Musqueam artist Susan Point, the sculpture is based on the shape of a traditional Coast Salish spindle whorl. It depicts stylized eagles, salmon and human figures, all caught up in a current of swirling movement and gesture and representing the intertwined themes of flight, welcome and cultural identity. Orbs realized in both positive and negative space symbolize the sun, the moon and the planet Earth, and the circular shape of the spindle whorl itself suggests the great encompassing cosmos.
Beyond this work, four richly hued weav-ings hang like celebratory banners in space, incorporating the patterns and designs of
Introduction
traditional Coast Salish blankets. Created by Debra Sparrow, Robyn Sparrow, Krista Point, Gina Grant and Helen Callbreath, they repre-sent an honoured and ancient craft practiced by the First Nations women of the region. Past the spindle whorl and the weavings, down a set of stairs and escalators separated by rushing streams of water, two large wooden welcome figures, male and female, also carved by Point, extend their greetings to all who pass by. Even on overcast days, light floods the high-ceilinged hall, contributing to the sense of wonder and delight.
The Musqueam Welcome Area at the entrance to Canada Customs Hall is