blankets, clothing, and robes. The wool would be taken from the animals and then mixed with a diatomaceous earth removing oils and adding a white colour. After wetting, the wool would be twisted between the palm and thigh to create a loose strand, after which was spun. Whorls were placed on the shafts of wood spindles, and the loose strands of wool were spun. Some of the circular spindle whorls were plain, but others had elaborate designs and beings depicted. Blankets, mats, and robes were woven on looms which were made up of two upright bars and were attached to two horizontal rollers. Some loom poles were also carved with figures illustrating supernatural characters or family history. Specially designed combs were used during the process of preparing the wool, and another tool pushed the weft during weaving. Although the smaller textiles were often functional, many larger robes served as indicators of wealth. Men carved house posts, grave monuments, masks, and ritual paraphernalia such as rattles; while women crafted woven robes, some plain, some elaborately coloured. Rattles made from sheets of mountain-goat horn bent and then sewn to form volumetric triangles originally adorned with strands of mountain-goat wool. The art form is used in spindle whorls, house posts, welcome figures, combs, bent wood boxes, canoes, and other cultural objects. Revival Coast Salish art has undergone a revival in recent years. One person involved in the revival is Squamish artist Aaron Nelson-Moody. In 2005 he carved a large cedar door to be used at the BC-Canada Pavilion in the 2006 Turin Olympic Game. Cowichan artist Edward Joe, who has adapted the Coast Salish art form into fine jewelry and prints, says "(Coast) Salish art has as smooth slowing motion intended to create a calm mood. The stories, legends, and myths are depicted in many of my art pieces. Animals from the land, sea, and sky are designed in a playful manner." On October 24, 2008, the Seattle Art Museum opened "S'abadeb—The Gifts: Pacific Coast Salish Art and Artists", a Coast Salish art exhibition from 75 works of art from national and international collections of both traditional and contemporary artists. Characteristics It also differs from other Northwest Coast art in that it is more minimalist and straight forward. A belief in the overexposure of spirit images would weaken the spiritual powers of the beings portrayed, and as a result very few pieces were