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In pictures: Emily Carr's spirit returns to B.C.'s Nass Valley

The Nisga’a Museum in northwestern British Columbia hosts an exhibition of the artist's work, more than eight decades after she toured the area

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Ankeda, The Pole of Chief George Kindealda (1928): An imposing face on a totem pole surrounded by blooming, pretty flowers.

Trevor Mills/Vancouver Art Gallery

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Emily Carr’s Return to Ank’idaa is a tiny exhibition, with four works on paper and one of the canvasses that came out of her visit to the Nass Valley. Forsaken (1937) is the oil on canvas, and is on loan from the Vancouver Art Gallery.

TREVOR MILLS/Vancouver Art Gallery

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Emily Carr, Untitled [Angidah] (1928): Her works are dynamic, airy and vigorous – the lush greenery coming alive in contrast to the stately, abandoned, totem poles.

Trevor Mills/Vancouver Art Gallery

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The Nisga’a Museum, also known as Hli Goothl Wilp-Adokshl Nisga’a (the Heart of Nisga’a House Crests), rises dramatically against the mountain backdrop in remote Laxgalts’ap, B.C. The museum’s design is inspired by the longhouse and the traditional Nisga’a feast dish, a common bowl that feeds all. It serves as a metaphor for the Nass Valley, a sort of bowl rich with resources, surrounded by mountains. Shaped like the common bowl, the museum is a resource centre that feeds the Nisga’a.

John Lehmann/The Globe and Mail

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Tour guide Holly Maxwell at the Nisga'a Museum in village of Laxgalts'ap, Nisga'a Nation, May 8, 2014.

John Lehmann/The Globe and Mail

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