b'Dreverlikesthisideaofursusinterruptus.Ofthefourneon-orangebearshe installed for Bear Hunt (2010) in the Toronto Sculpture Garden, three of them dis-appear in to the wall. He thinks of them as bears that were leaving the space. This was both a short-cut and a reflection of the way animals are depicted in dioramas. But he took no short-cuts in the monumental bear sculpture made for theEpcorTowerinEdmonton.Bearwith Salmon (2014) shows the animal surrounded by swimming salmon, one of which he holds in his mouth. Made from stainless steel, alu-minum,lacquerandglassandputtogether from 66 pieces of cast stainless at 10 x 27 x 16feet,itwasthemostambitiousbear sculpture he had ever made. Love Bears has now taken its place. Drever admits that while there are protocols inside Haida carving that have to do with colour and the spatial arrangement of forms, he has ignored them for the most part. My kind of carving has nothing to do with the Formline he says. Its a codified language with very specific rules about how far apart lines can be, and what kind of shape you use to represent an eyeball or a wing. In the cedar totem pole he made in 2013 he was careful to stay within the rules.Healsomadeapaperversionofthesculpture from 11,000 individual sheets of stacked paper. It was called Pass the Hat (2015) and was installed in the Great HallofUnionStation.Bothversionswerepersonally significant to Drever because they involved his daugh-ter. She was often in the studio when he was carving andhelpedoutbydraggingawaywoodchips.She even did some knife work and has become quite a profi-cient carver in her own right. Drever found himself play-ing the role of the thunderbird who places the traditional Haida watchmans hat on the bear figure that is the rep-resentation of his daughter. 18'