The Ocqueoc Totem Pole at Canatara
Acrylic on canvas 18” x 36”
Craig W. Tidball
Grace College - Art 2400/Prof. Cindy Bryan
February 25, 2020
This painting depicts the totem pole guarding our Lake Huron cabin located in northeast upper lower Michigan. The pole was carved by artist and sculptor, Stephen Hansen, a relative of the previous owners. Hansen, whose paintings and paper machete creations are found in the Smithsonian Museum of American History and in many corporate headquarters, is known for his caricature depictions of everyday life. Although he rarely carves, his innate artistic abilities inspired this pole created on a whim to entertain young family members during a long rainstorm at the cabin.
This painting is a study in acrylics but more significantly it explores the range of one’s abilities. I never considered myself a painter - far from it. The last time I remember painting was a rushed attempt in a junior high art class before the bell rang. I just assumed I didn’t have that ability and was never challenged to pursue it further. Fast forward a few decades to the Grace Silver Scholars program. Sue and I were down to a coin flip between taking Shakespeare or Painting 2400. Well, painting won and I’m glad it did. I’ve discovered new abilities, met some wonderful classmates and have received excellent instruction from Prof. Bryan.
My painting is unwittingly named the Ocqueoc Totem Pole of Canatara. Ocqueoc is an Indian tribal name from Michigan history and Canatara is the Indian name we gave our cabin. The painting combines Imitationalism (some say it resembles a photograph) with Formalism as it is a single, self-contained recognizable item using a limited number of colors. It is best viewed at a distance of ten feet or greater which is also the distance when observing the real pole in the wild. (From its usual position in the back of the art studio, I think it looks best when viewed through the glass of the classroom door.) There is no message intended by the painting other than hoping it relates the story telling nature of a totem pole as carved by the original artist.
The pole was carved from aged red pine found in the northern Michigan woods. The surface is rough, irregular, and the chisel marks cause the sun and shadows to display subtle nuances of shading and color. I chose to leave a number of rougher edges caused by the drier acrylic paint to reflect the roughness of the wood.
The composition represents the shallow space of the top portion of the pole. The angle is one of looking up against a bright sky at midday. Shadows play a prominent role in this painting and they formed the foundation of the painting process. They also provide a sense of depth and relief that supports the image’s realism.
In actuality the totem pole is one color - dark brown. It is the bright sunlight, resultant shadows and sculptor’s chisel marks, however, that bring to life the many shades of brown needed to provide depth and texture to the image. I painted with five variations of a created brown base including a brown-influenced black plus several lighter shades of brown influenced by white with hints of red and yellow. The bird’s prominent beak, a part of the aging pole I actually had to replace with white pine, carries the strong tint of orange from its protective finish. I made the orange by mixing yellow and red with some base brown added. Red is used sparingly throughout the painting but offers a hint of the red pine origin of the subject. The dullness of the acrylic medium lends itself to the wood texture finish.
What pleases me most about the painting was discovering I could add dashes of colors here and there to give the viewer’s eye a sense of texture and shape without painting detailed lines. A favorite artist of mine is Leroy Neiman whose dramatic paintings use undefined blobs and patches of bold colors with minimal detail. Even with the lack of detail he conveys his subject with unmistakable energy and emotionally draws in the viewer. With apologies to Mr. Neiman, my painting occasionally uses dabs of color to bring form and dimension to the Indian chief. Note the eyes and nose are largely blobs of color carefully placed to lend depth and a sense of realism while close up revealing very little detail. Similarly, the bird’s wings imply wood grain texture by blending lighter colors into darker tones with occasional contrasting shades. Of course, nothing like Neiman but his technique crossed my mind during the project.
The painting expresses unity because of its singular subject matter but also because of the limited number of earth tone colors. The focal point of the asymmetrical painting is the chief’s face. While I was concerned the orange beak would initially draw the viewer’s eye it is my hope the piecing eyes and pronounced rugged Indian nose will grab the viewer and convey the chief’s traditional leadership role. Aside from the evident crop to capture the top of the totem pole, the painting is also slightly cropped vertically and the narrow frame configuration of 18 x 36 supports the impression of a tall columnar subject.
The painting has a limited focus - it’s a totem pole - and yet there are elements of Stephen Hansen’s original work plus the viewer’s own knowledge of totem poles that may draw one to question further: Does the hand represent a gesture, just what is that dark circle to the left of the chief’s eye - it’s odd if it’s an ear compared to his other features, or is it a ceremonial earring? And what is the circle at the lower right? I take it to be his elbow that leads then to his unseen hand. What other traditional images of animals and warriors might be out of sight below the image? It may lead the viewer to wish for a fuller view.
In closing, there is a compelling message in this painting but it’s not made known to the viewer. Rather, it’s the message revealed to me of an artistic expression I hadn’t thought possible. To think I made a painting worthy of showing to others is a special joy for me. While I dabble in the art of portrait photography and manipulate tones and lighting and contrast of a provided image - to put paint on a blank canvas and create a recognizable image has been most rewarding.
The poet, Annie Dillard, wrote a hopeful thought that came to mind with my experience in this class. She wrote: “I had been my whole life a bell, and never knew it, until that moment I was lifted and struck.” I hope that thought challenges each of you to live expectantly in the years ahead. Your paths will lead to unforseen places and unexpected challenges. Some of you will be in art and design, some in management, some may teach, some may start a business . . . you’ll be parents. You will discover talents you never thought possible are within you. Live expectantly! “I had been my whole life a bell, and never knew it, until that moment I was lifted and struck.”
Thank you Grace College for letting me be a part of this class and especially to the gifted Prof. Bryan for “striking my bell” with her instruction and encouragement.