|Carey Newman is a Kwagiulth artist. Born on February 15th 1975, Carey is prominent among the younger generation of native artists.Under the influence and support of his father and mother, Carey developed his artistic ability and cultural knowledge from an early age. Artistry is in his blood. His father Victor, his great, great grandfather Charlie James, and his great aunt Ellen Neel, are all renowned wood carvers. Being of British and Kwagiulth/Salish descent, Carey has been able to draw upon each of these cultures for his inspiration. While this does add a contemporary flare to his work, he is very careful to adhere to traditional rules and values. Finding ways to change without disregarding history is extremely important to him. Carey is always looking for ways to improve his artistic repertoire. Mastering as many techniques and mediums as possible is one of the keys to his continual inspiration.Wood, stone, gold, silver, gems, glass, and painting are mediums that Carey works with. A dedicated artist, Carey's goal is to follow the footpaths of his mentors: his father, for his belief in artistic integrity, quality, and self-respect, and Bill Reid, for his ability with many mediums.
Carey decided to open an art gallery in 1996. With the help of family, he made that dream come true. Today, the Blue Raven Gallery showcases not only the work of Carey Newman, but also his father Victor, and his mother Edith. Each year Carey and the Blue Raven Gallery gain more exposure and recognition. Of his 28 limited edition prints, he already has 18 sell-out editions. Most of Carey's carvings are commissioned by private collectors, however, he has also done work for corporations, government agencies and museums around the world. This not only adds to the value of his work, but more importantly allows him the opportunity to try new ideas.
"When I embark on a journey, I may not have a clear idea of where I am going, but… perhaps I do not need one. My travels are not of the prosaic, one-foot-after-the-other variety, but rather a venture through an uncharted forest called future. This is terrain where ancient tradition smothers the ember of modern idea. A woodland so dense with archaic ritual, that the rains of April, and the sunshine of May, are not allowed the opportunity to renew the undergrowth.
I can not clear-cut the trees to save the forest, for then it would no longer exist. Similarly, if there is never any new growth, the forest will eventually die of age. Therefore, I must realize the beauty in what was, and rejuvenate the old by balancing it with the new. So… it is there among the roots of the venerable trees, nurtured by the sunlight and rainfall filtering through cracks where unneeded branches have fallen, that I will plant my seedling. Hoping perhaps someday, it will grow into prominence among its forefathers."