Emerging Art and Perspectives on Collecting

Emerging Art and Perspectives on Collecting

The Douglas Reynolds Gallery is known for always carrying the best of the best, which means it is just as important to us to support up-and-coming and mid-career artists as those with established careers. Works by these artists are perfect additions for collectors new to Northwest Coast art as well as the more seasoned connoisseur looking to expand their collection, or perhaps find works for a second home.

As we are nearing the end of Spring, we wanted to share a closer look at fresh artists, artworks, and ideas. We have several impressive pieces by emerging artists, many of whom are creating works in a variety of media at different prices in the market. Established artists have also been creating works that they are less commonly known for. These artworks can make for excellent acquisitions to either begin or round out a collection.

Emerging Artists 

Emerging art is where the next wave of creativity lies. Produced by artists that are in the early stages of their careers and under-recognized for their work, they may be younger or older in age. An emerging artist could have recently graduated from art school, be middle-aged but not have gallery representation yet, or have representation by a smaller gallery. Works by these artists can be of the utmost quality, having no less aesthetic or conceptual value than those by an acclaimed artist, and are simply waiting to become more appreciated and have greater representation in galleries, collections, and museums. Oftentimes, emerging artists are those defining new styles and mediums.

Galleries like ours regularly seek out emerging artists because they are the ones dictating what art in the market is going to look like in 20 years. Purchasing artworks from emerging artists can turn out to be a “lifetime” investment (and perhaps even a bit of a gamble) when art collectors bet on the future of a particular artist. Your purchase may have a considerable impact on an artist’s career and if the artist becomes established, it's worth noting that early works are usually worth more and are more collectible than later ones!

Raven Mask
Ses Saunders (Nuxalk)
Red Cedar, Cedar Bark, Acrylic
5" W x 6 ½" H x 13" L

Early art tends to show passion, experimentation, and risk-taking as artists find their style. As artists become recognized and established, they can become more deliberate and sometimes predictable. In addition, the majority of the earliest significant pieces by renowned artists usually end up in museums, private collections, or in the families of those artists and are not available for sale. On those infrequent occasions when an early work comes back onto the market, the competition to buy it can be fierce and the selling price high. Later works, on the other hand, tend to be more plentiful and easier to get.

Speaking of promising artists, we foresee great things from artist Sesyaz Saunders (Nuxalk). Ses comes from a long line of Nuxalk carvers and was taught by his father Robert "Skip" Saunders. He learned the fundamental skills of carving at a young age and by the time he was 12, he was already selling artwork directly to local customers. By 14, he was being represented in local galleries in his hometown Bella Coola. In the short years since, he has been awarded the YVR Art Foundation Youth Artist Scholarship twice (2016 and 2018) and has been rapidly gaining recognition under the apprenticeship of renowned Haida Master, Robert Davidson.

Salmon Panel by Ses Saunders (Sold)
Bear and Wren Panel (2018) by Ses Saunders
Creation Story Panel (2016) by Ses Saunders

For a year, Ses worked under Robert Davidson's mentorship to carve the panel, titled Bear and Wren, that was featured at YVR airport from 2018 - 2019 (above left). His previous work, Creation Story, for which he was awarded the 2016 scholarship (above right) had been on display from 2016 - 2017.

Happy Go Lucky Portrait Mask
Ses Saunders (Nuxalk)
Red Cedar, Acrylic
12" H x 6 ½" W x 5 ½" D

 

Dawson Matilpi (Kwakwaka'wakw) has been bringing in some beautiful work and is another artist we're keen to receive more works from. Dawson is currently an apprentice to Master Carver Moy Sutherland (Nuu-chah-nulth). Dawson was born in 1999 and first started carving in 2016 after participating in the Eagle Project initiative with the Victoria Native Friendship Centre (VNFC).

The Eagle Project, which sponsored the raising of three totem poles in each style of the First Nations on Vancouver Island - Nuu-chah-nulth, Kwakwaka'wakw, and Salish - enables First Nations youth to learn both valuable life skills, from first aid to tax planning, as well as hands-on carving with notable craftsman and carvers.

The young artists were involved in each step of creating the totem, from its arrival as a raw log to the final raising. Along the journey, they were trained in the use of traditional hand-tools, learned about First Nations art and gained insight into their cultural history and its importance. The totem pole Dawson worked on, under the guidance of Moy Sutherland, is in the Nuu-chah-nulth style and is called Qweesh-hicheelth meaning "in the midst of transformation" (below).

The Qweesh-hicheelth (Midst of Transformation) Totem Pole
*photos courtesy Dave Western of Woodworkers Institute

Thunderbird Paddle
Dawson Matilpi (Kwakwaka'wakw)
Yellow Cedar, Acrylic
60 ½" L x 6" W x 1" D

 Another emerging artist to keep an eye on is Margaret August, a Two-Spirited Coast Salish artist from Shíshálh Nation. Margaret identifies with the pronouns they, them, their and was born in 1983 on the traditional unceded Lkwungen and W̱SÁNEĆ territories, otherwise known as Victoria, BC. They have been showing work in group art shows since 2011 and have been developing their own style as an artist. They believe the many gifts of each Two-Spirited person are unique to the individual and rooted in where they come from.

Two Spirit Rising
Margaret August (Salish)
Serigraph, Edition /100
30" H x 22" W
Highest Level
Margaret August (Salish)
Serigraph, Edition /100
22" H x 22" W

Since 2017, Margaret has been training further under the guidance of fellow Coast Salish artist Dylan Thomas. Margaret has been developing their style and sharpening their skill set towards advancement in Salish art and design. Margaret also lists fellow Salish artists Susan Point and LessLIE, as well as Tlingit artist Mark Preston, as influences to their work.

Salish artist Margaret August
Coming Home
Margaret August (Salish)
Serigraph, Edition /100
22" H x 22" W
Elapsed Time
Margaret August (Salish)
Serigraph, Edition /100
22" H x 22" W

After first learning how to draw in the Salish design elements, followed by learning fine painting skills, Margret has now been focused on designing specifics for different mediums. They have most recently begun to work with sandblasting, as well as painting bentwood boxes, and have created a number of compelling designs.

Eagle Panel
Margaret August (Salish)
Red Cedar, Acrylic
24" diam x 1" D
Thunderbird Bentwood Box
Margaret August (Salish)
Red Cedar, Yellow Cedar, Acrylic
10" H x 10" W x 10" D

Salmon Bentwood Box
Margaret August (Salish)
Red Cedar, Yellow Cedar, Acrylic
6" H x 6" W x 6" D

Sage Nowak is another up-and-coming artist we must mention. Sage is from the Tahltan and Vuntut Gwitchin First Nations and is a member of the Wolf Clan. He is a multifaceted artist; a carver, designer, painter, drum maker and sculptor. After spending several years traveling, Sage has reconnected to his roots and culture through traditional arts. Returning from his time abroad, he was mentored by Tlingit artist, Calvin Morburg and was later under the tutelage of Master Carvers Stan Bevan, Dean Heron, Ken McNeil, and Dempsey Bob in the Freda Diesing School of Northwest Coast Art.


Sage Nowak was also a recipient of the YVR Art Foundation Emerging Artist Scholarship in 2018 and 2020 and is an exciting artist with a style that is uniquely his own.

Wolf Shaman Sculpture
Sage Nowak (Tahltan)
Red Cedar, Acrylic, Wolf Fur, Lichen, Oyster Shell
21" H x 9 ½" W

The Wolf Shaman Sculpture (above) by Sage is not up on our website yet. The inspiration behind the sculpture came from a dream that Sage had around the time he was designing the piece (below). In the dream, Sage saw a shaman dancing and transforming into a wolf. The head of the wolf rose up, out of the shaman's back and shoulders, and the shaman's face sunk into the wolf's chest. The Shaman Wolf is shown holding an oyster shell smudge dish which represents offering and abundance.

Sketch by Sage Nowak (Tahltan)

Filling Out Your Collection

Determining an objective for your collection can define the entire course of your art collecting journey. Whether you're acquiring art to express your unique taste and aesthetic, or you prefer investing in art with the potential growth in value over time, it’s always exciting to acquire high-quality works in various media.

Northwest Coast art, while niche, encompasses a vast range of artworks from limited edition prints to large-scale installations to sculptural works in new media like cast forton, glass, and aluminum. There are so many excellently-crafted objects available on the market that can bring additional value, and an eclectic mix, to your collection. What is so fascinating and unique about Northwest Coast art, is that several of these diverse pieces may come from the same artist's hand.

For example, Joshua Prescott-Shaw, primarily known for his intricately carved panels, also creates paddles, boxes, and small masks and has recently brought in a selection of limited-edition prints.

Human and Bear Paddle
Joshua Prescott-Shaw (Cree)
Yellow Cedar, Acrylic, Abalone
46" L x 6" W x 1" D
Portrait Mask
Joshua Prescott-Shaw (Cree)
Western Maple, Rope
9 ½" H x 6 ½" W x 3 ½" D

Joshua’s paddles are often double-sided, being carved on one side and painted on the reverse, which allows for differing options for display. He recently brought in a mask (above) carved out of western maple wood and adorned with a rope made from recycled material, along with a hand-painted revised print series (below).

Amusingly, Joshua used acrylic to hand-paint some select prints from this 2013 edition of 100 titled I Am Your Sunshine and Your Shadow, making each number in the edition a completely unique piece of art. Sometimes, when a serigraph has been pulled and then further manipulated by hand by the artist, it is called a "variable edition print "or a "varied edition print".

I Am Your Sunshine and Your Shadow
Joshua Prescott-Shaw (Cree)
Serigraph, Hand-Painted
19 ½" H x 19 ½" W
Prints & Paintings

 

Graphics can be a wonderful addition to any collection and bring livelihood, design, and colour to a space. Unlike carved works, a benefit to graphics is that they are often more accessible and more easily transported. Graphics, whether paintings or prints, are a great entry point into Northwest Coast art collecting, as they are an easily adaptable art form and can be incorporated into any decor.

Painting by Shawn Hunt (Heiltsuk) (sold)

Wolf Painting (Framed)
Mark Lange (Tlingit)
Acrylic
19 ½" H x 24 ½" W x 1 ¼" D

Eagle Painting
Mark Lange (Tlingit)
Acrylic
12" H x 16" W

One of the most accessible forms of graphic art are hand-pulled prints. Put simply, prints are artworks made into a limited number of iterations through a transfer process, created from three aspects; paper, ink, and an ink matrix. A matrix is a physical surface that can be manipulated to hold ink, which is then transferred to paper. Serigraphy (silk-screening) is the most common form of printmaking in the Northwest Coast art market. Serigraphs are created by forcing ink through a series of fine meshed silk-screens, where each colour represented on a print is layered on the paper through its own screen.

A general guide when starting to buy prints and editions is to either buy high edition numbers and lower value prints by well-known artists, or low edition numbers, but perhaps higher value prints by emerging artists.


Łagigyet
Phil Gray (Tsimshian)
Serigraph, Edition /75
29" H x 16 ¾" W

Kwikwetlem Harvest
Maynard Johnny Jr. (Salish)
Serigraph, Edition /100
24" H x 19" W

Discoveries
Susan Point (Salish)
Serigraph, Edition /130
37 ¾" H x 28 ½" W

Fisherman's Delight
Robert Davidson (Haida)
Serigraph, Edition /81
30" H x 30" W

 

An artist who has been on the scene for some time but consistently releases stunning works is Kelly Cannell (Salish). As the daughter of Susan Point, Kelly learned a lot from her mother but she has certainly become an artist in her own right.

Salish artist Kelly Cannell

Kelly has been focusing on silk screen printing and acrylic painting while continuing to study part-time at Emily Carr University. Her newest print release is the elegant Great Blue Heron (below).

Great Blue Heron
Kelly Cannell (Salish)
Serigraph, Edition /82
30” H x 16 ½" W

Connecting Generations
Kelly Cannell (Salish)
Serigraph, Edition /65
16 ¾" H x 16 ¼" W

Kaleidoscope State II
Kelly Cannell (Salish)
Serigraph, Edition /25
30" H x 22" W

Another artist to watch is Cori Savard (Haida). Born in 1985 in Haida Gwaii, she actually spent most of her childhood in Quebec and Ontario. At age 15, Cori returned to Haida Gwaii and went to her first potlatch. She was invited to attend several design courses taught by Haida master Robert Davidson and she worked to master the style and improve her skill. In 2012, Cori was the recipient of the Frank O’Neill Visionary Award for her cultural vision and artistic determination.

Interwoven
Cori Savard (Haida)
Serigraph, Edition /76
26" H x 22" W

Cori started a formal apprenticeship with renowned Haida artist Reg Davidson (brother of Robert Davidson) at age 20. She worked on numerous projects with Reg, including multiple totem pole projects, and learned the carving techniques for various pieces like masks, sculptures and large works. Cori continues to work with Reg Davidson to this day.

We're looking forward to seeing Cori's newest print release in the gallery soon, titled Sgaana Saahlann Sdings.

Sgaana Saahlann Sdings
Cori Savard (Haida)
Serigraph, Edition /125
21" H x 30" W

"Sgaana Saahlann Sdings means Two Finned Killer Whale. The imagery in this print focuses on the two dorsal fins. Attached to the body of the whale, they have no control over their direction or destination. The thin lines around the design represent the spray and the water that rolls off the body of the whale as it emerges from the depths to take a breath. With this new energy, it continues its journey, facing an ever-changing ocean landscape.

The first dorsal fin represents the discomfort and apprehension that comes with the unexpected changes in our lives. It braced itself for the next wave, the next plunge, engaging in a losing battle against the momentum of the whale. The thin lines between the dorsal fins form teeth, creating a mouth which represents a shared experience and a shift in our mindset. The second dorsal fin represents acceptance, resilience, and the positive energy that follows our ability to adapt. Once we recognize our apprehension, we are free to challenge it. To seek the positive within the negative and move forward with renewed energy." - Cori Savard

Wolf
Hollie Bartlett (Haisla)
Serigraph, Edition /50
8 ½" H x 8 ½" W
Eagle
Hollie Bartlett (Haisla)
Serigraph, Edition /50
8 ½" H x 8 ½" W

 

Hollie Bartlett (Haisla) has made herself known for her elegant jewelry designs, but also enjoys painting, and most recently decided to try her hand at printmaking. She has just finished some small edition serigraphs (below) that we think look striking framed.

 

Sculptures

Sculptures may feel more challenging to add to a room than graphic works, however, they have several desirable characteristics. A sculpture not only decorates a wall – it adorns an entire space, offering many viewpoints and allowing you to enjoy a piece and experience it from many angles.

Apartment space in downtown Vancouver, including artwork displayed on shelved (right) and a Robert Davidson piece above the fireplace.

 

Sculpture also adds depth, texture and dimension to a space, whereas prints and paintings primarily add colour and design. It allows you to utilize areas that aren’t suitable for two-dimensional works. For example, many small sculptures (under 10” tall) are uniquely suited for a desk, alcove, or shelf making these more intimate pieces likely ones that you want to have near at hand.

 

Bear Totem
Cecilia Adams (Gitxsan)
Yellow Cedar, Acrylic
12" H x 4" W x 4" D

Eagle Rattle
Charlie Johnson (Kwakwaka'wakw)
Red Cedar, Cedar Bark, Acrylic
15" L x 5" W x 4" D

 

Some collectors have mentioned experiencing deeper connections to their sculptural works, different from the connection that draws them to two-dimensional work. We appreciate the tangible and tactile quality of sculpture and through the versatility of sculptural works, it’s easy to find pieces that complement and intrigue many tastes.

 

Youngest Child
Carl Stromquist (Salish)
Red Cedar, Metal, Abalone
7 ½" H x 5 ½" W x ¾" D

Ancestor Bentwood Box
David Albert Boxley (Sr.) (Tsimshian)
Red Cedar, Acrylic
11 ½" H x 9 ¼" W x 9 ¼" D

Eagle Bentwood Box
James Michels (Metis)
Red Cedar, Yellow Cedar, Acrylic
4 ½" H x 4 ½ W x 4 ½" D

 

Seal Head
Rod Smith (Kwakwaka'wakw)
Wood, Acrylic
4½" H x 3½" W x 4" D

 

Paddles bridge the gap between 2D and 3D art. They can be hung vertically or horizontally, flush on the wall or be displayed in a more sculptural manner on a paddle-stand.

 

Hummingbird Paddle
Trevor Angus (Gitxsan)
Red Cedar, Acrylic
62 ½" L x 7" W x 1" D

 

SOS: Save Our Salmon Paddle
Gerry Sheena (Salish)
Yellow Cedar, Acrylic
61 ¾" L x 6" W x 1" D

Bear Paddle
Ross Henderson (Kwakwaka'wakw)
Red Cedar, Acrylic
60" H x 6" W x ¾" D

Masks

 

A great place to start, or continue, collecting Northwest Coast art is with the quintessential mask. Masks are created in all different styles, sizes, and price-points. Originally masks were produced for momentus and sometimes secret ceremonies. However, over the last few decades artists have begun to produce beautiful and elaborate masks for sale to the general public. Although museums house many examples of old as well as contemporary masks, more and more are now in private ownership.

New masks at the gallery

Masks can be especially suited for smaller spaces, with many pieces available in dimensions 10” and under. It’s also not uncommon to display a mask on a stand as well as hang it on the wall, again giving multiple options for presentation.

 

Tsimshian Warrior Mask
Simon Reece (Tsimshian)
Red Cedar, Acrylic, Horsehair
10 ½" H x 8 ½" W x 4" D

 

Crescent Moon Portrait Mask
George Pennier (Salish)
Red Cedar, Horsehair, Feathers
9 ½" H x 11 ¾" W

 

Portrait Mask
Marcus Alfred (Kwakwaka'wakw)
Red Cedar, Acrylic, Cedar Bark
11" H x 8" W x 6" D

 

Portrait Mask
Derald Scoular (Salish)
Red Cedar, Acrylic, Fur
13 ½" H x 11 ½" W x 12" D

Reg Davidson (Haida) is an artist that works in various sizes for masks. He has created a fantastic large-scale Bear Mask for the gallery, but also has some smaller works that could be a wonderful addition to a collection.

 

Large-format Bear Mask by Reg Davidson (Haida)

 

Large-Scale Bear Mask
Reg Davidson (Haida)
Red Cedar, Acrylic
31" H x 31" W x 17" D

 

Gagiit Mask
Reg Davidson (Haida)
Red Cedar, Horsehair, Acrylic
10" H x 8 ¾" W x 5" D

 

Hawk Moon Mask
Reg Davidson (Haida)
Red Cedar, Acrylic
14 ¾" H x 13 ¾" W x 6" D

Raven Moon Mask
Reg Davidson (Haida)
Red Cedar, Acrylic, Operculum
14 ¼" diam x 5" D

Panels

 

One of the most versatile artforms is the panel. Panels are a wonderful way for artists to showcase a design – whether it be in large or small format. Depending on the carving method, a panel can be carved in a deep relief, more sculpted format, or lower relief with detailed knife work and finely executed painting. Panels come in circular compositions, as well as rectangular or square configurations as well. Many artists also create panels in diptych or triptych style designs.

 

Wolf Panel
Ken McNeil (Tahltan)
Red Cedar, Acrylic
12 ½" H x 27 ¼" W x 2 ¼" D

  

Eagle Panel
Trevor Angus (Gitxsan)
Red Cedar, Acrylic
24" diam x 1½" D

Jim Charlie (Salish) has recently been designing some delightful 24” diameter panels in yellow cedar that are 2” in depth, creating a wonderful amount of depth. Trevor Angus (Gitxsan) has also been carving beautiful panels in the same diameter. Although at a similar price point and scale, you can see the variation and distinction between artists when you compare their works.

 

Salmon Panel
Jim Charlie (Salish)
Yellow Cedar, Acrylic
24" diam x 2" D

 

Killer Whale Panel
Jim Charlie (Salish)
Yellow Cedar, Acrylic
24" diam x 2" D

 

 Eagle Panel
Jim Charlie (Salish)
Yellow Cedar, Acrylic
24" diam x 2" D
$3,500.00 CAD / $2,700 USD

  

Fresh Ideas and Techniques

Although notoriously an artform associated with woodcarving, many Northwest Coast artists are pushing the boundaries of the traditional by exploring and experimenting with new materials. Both known artists and especially up and comers are embracing new techniques and contemporary materials and are proving the versatility, resourcefulness, and endurance of Northwest Coast artists.


Sandblasting


An area in Northwest Coast artwork that's becoming more popular is sandblasted panels. Sandblasting reveals the grain of the wood by removing summer growth between the denser winter growth rings. The exposed areas are abraded, leaving an organically grooved appearance in the wood. This texture is the result of the varying densities of the wood used.

Typically, a design or template is drawn to scale and then transferred to a rubber matting. The design is then cut out of the matting by hand, exposing the negative space of the design, and leaving the formline covered. A piece of wood is then prepped with the rubber matting and the surface is sandblasted.

 

Octopus Panel
Nusmata (Jarrod Saunders) (Nuxalk)
Red Cedar, Acrylic
18" diam

 

Octopus Panel
Nusmata (Jarrod Saunders) (Nuxalk)
Red Cedar, Acrylic
12" diam

An artist that often creates works with sandblasting is Nusmata (Jarrod Saunders). Born into the Nuxalk Nation, he was given the traditional name Nusmata by his Grandfather and master artist, Silyas Saunders.

Nusmata has been exploring modern forms of creating artwork, including sandblasting, graphic design, clothing, and stretched canvas giclee prints, with the intention to make First Nations art more accessible to more individuals. His contemporary style is both modern and colourful.

 

Humpback Whale Panel
Nusmata (Jarrod Saunders) (Nuxalk)
Red Cedar, Acrylic
24" diam x 1" D

Moon Panel
Nusmata (Jarrod Saunders) (Nuxalk)
Red Cedar, Acrylic
12" diam

Now that old-growth cedar is becoming much harder to source, other methods are coming out of the woodwork, so to speak. Many artists are now finding new ways to utilize second-growth cedar - exactly the material you want for sandblasting. Old-growth cedar is reserved for hand-carved panels due to the tight grain which allows an artist to achieve finer detailing. The wider grain of second-growth cedar creates a fantastic effect when sandblasted, where you can see the beauty of the wood tissue. As second-growth panels are becoming more plentiful, artists are adapting to the supply of wood available and having fun with sandblasting.

 

Divine Momentum Panel
Margaret August (Salish)
Red Cedar, Acrylic
24" diam x 1" D

Elapsed Time Panel
Margaret August (Salish)
Red Cedar, Acrylic
24" diam x 1" D

We are anticipating some new panels from Jazmine McCrimmon-Cook in the coming month. She has been working with the sandblasting technique for a number of years and we are looking forward to getting more works with her signature Thunderbird Panel design.

 

 Thunderbird Panel (Black)
Jazmine McCrimmon-Cook (Kwakwaka'wakw)
Red Cedar, Acrylic
12" diam x 1 ½" D

 

Thunderbird Design (Grey)

 
Contemporary Materials

Forton and Aluminum are both being used as another contemporary option. Forton is a resin/metal composite that is increasingly being used in the art world as an alternative to bronze. It is versatile for both solid and hollow castings and has an extremely high strength-to-weight ratio, allowing hollow castings to be made much thinner than traditional materials would have previously allowed.

 

Moon Mask
Trace Yeomans (Haida)
Cast Forton, Edition /12
12" diam*
*Mounted on a marble surround. 15" diam including the backing.

 

The metal used in the Forton mix is shaved into fine particles and mixed into resin. Forton offers the artist the ability to create editions in various patinas, similar to bronze or steel, but at a fraction of the cost and a substantial reduction in weight.

 

Wolf and Moon Tile (Framed)
Don Yeomans (Haida)
Cast Forton, Edition /50
18″ H x 18" W x 1" D

 

Eagle and Bear Tile
Don Yeomans (Haida)
Cast Forton, Edition /50
14 ½" H x 14 ¾" W x 1 ½" D

These contemporary materials are very adaptable, filling the needs of both form and function. Another material commonly being utilized by contemporary Northwest Coast artists is aluminum. One of the outstanding advantages of aluminum sculpture is that it does not rust, fracture, or fade, which can be unattainable with other metals.

Ray Natraoro (Salish) has been creating some fantastic panels lately in cut aluminum. These two designs are based on the Salish form the spindle whorl. Spindle whorls were tools for spinning wool. The circular disc on the spindle whorl was often carved or decorated.

 

Salish Salmon Panel (Black)
Ray Natraoro (Salish)
Aluminum, Edition /12
26 ¼" diam

 

Salish Salmon Panel (Red)
Ray Natraoro (Salish)
Aluminum, Edition /12
26 ¼" diam

  

As always, we're expecting many impressive works and have several pieces on the horizon. Now that borders are opening, and restrictions are lessening, it's our hope to finally have friends of the gallery be able to visit us in person once again!

Until your next drop in, be sure to visit the website as we update regularly and follow us on social media for updates and new works in the gallery!

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