After finishing the three S&G kayaks, I thought it would be interesting to build another skin on frame project. This time, as a way to enjoy a lighter craft and less build time.
In 1998 my wife and I traveled to Alaska and I was very intrigued by the Northwest Coast First Nation Artwork. This sparked a curiosity in me, and I purchased the book, “NORTHWEST COAST INDIAN ART – AN ANALYSIS OF FORM” by Bill Holm. I saw this thematic art to have a strong systematic inter-related composition of forms and a great sense of the natural world’s spiritual power.
In previous years I had read “Baidarka” by George Dyson and “The Aleutian Kayak” by Wolfgang Brinck and “Hooper Bay Kayak Construction” by David W. Zimmerly and really enjoyed the history and construction techniques expressed in these books. These Baidarkas are literally thousands of years old and the Northwest Coast Art Form is hundreds of years old, if not thousands also.
Last summer I discovered Kudzucraft.com skin on frame boat selection and especially felt the “Firefly Modern Baidarka” was very intriguing to me. Jeff Horton’s modern “fuselage frame” construction appealed to me as an Architect as it is very innovative for kayak construction. I thought it might be quite interesting and appropriate to paint Northwest Coast Native American Art graphics on it. I had not seen these graphics on a Baidarka before, however I did find one example of this art work on a Greenland kayak after searching the internet, but I had not seen it applied to a Baidarka.
Growing up on a farm in western Ohio, near the very historic town of Greenville (Peace Treaty of 1795 for the whole northwest territory). I had often thought about the people who inhabited this area hundreds of years before our farm even existed. I and most people, knew scant little about them. However, the more modern cultural presence of the Northwest Coast Native Americans and their art work; I thought their work was quite striking to me in 1998 and so I continued to have an interest in it.
I began some initial sketches for the Baidarka and soon realized I needed to reread Bill Holm’s book again and again. I also purchased three more books, Hilary Stewart’s, “Looking at Indian Art of the Northwest Coast” and the two volume set by Jim Gilbert and Karin Clark, “Learning By Designing”. I spent many hours comparing the various text and realized how extremely disciplined and specialized the Northwest Coast Art really is. From the “ovoids” and other various forms, to colors, and the “formline”; all these contributed to the unity and power of the natural and supernatural environment expressed by this very unique and special First Nation Culture.
It became apparent that the right theme for the graphic might be the Eagle and the Salmon since both depend so greatly on the water for their survival. Both are interrelated as one feeds off the other.
In the 1990s we vacationed on Thunder Lake in the Michigan’s central Upper Peninsula. I got up early the first day and was on the water across the lake from the cabin as the morning fog was just beginning to lift. I was about 30 yards from the far shore and as I dropped anchor, I looked up into a tall tree and there was a pair of mature bald eagles sitting in the top of the tree. As I began to fish, they flew out of the tree and made a sweeping loop down right beside my boat, between me and the shore. As they passed the boat about five to six feet above the water, I could hear the air rushing off their wings as they slowly and quietly flew by me. Their wingspan was close to eight feet wide. I was awestruck!! I found it difficult to concentrate that morning on fishing after that incident. Later that same week I saw another Eagle, again in a tall tree, this time some distance away. Suddenly the great bird flew out of the tree and dived straight down into the water head and feet first like a missile, and them came up with a large fish. They call them “fish eagle”. Little wonder why “The Founding Fathers” chose this majestic creature to be the National Symbol of a great nation.
I read Ted Andrew’s “ Animal Speak” and wondered if these majestic creatures were messengers to my soul. Hmmm? Also after reading Ed McGaa (Eagle Man)’s book MOTHER EARTH SPIRITUALITY, I gained great respect and admiration for the First Nation Peoples connection with the spirit world (albeit Mr. McGaa speaks mainly about the Great Plains Peoples). And, I believe we both share the same Creator God. I believe the Northwest Coast Art is a reflection of that “Spiritual Relationship” they so vividly express in their artform. I know many artist (as I have also experienced) often remark of the “mysterious source” of their inspiration for their work. Sometimes I am amazed as to where an idea comes from as these creations flow forth.
After choosing the Eagle and Salmon theme, I sketched many different ideas over the next several weeks and months, until I felt fairly comfortable with the design. Then I did a full size mock-up on brown wrapping paper. I simplified and made minor changes until I was pleased with the graphics. Since I wanted a symmetrical design, I again drew on the Northwest Coast First Nation technique of making templates, which worked beautifully with the symmetry.
In one of the text I read, it suggested it was fine for non-native people (myself) to create this Art Form but that it not be sold for profit. I agree, that it is very fitting for non first nation peoples not to profit from this Sacred Art Form. However, presently there may be few First Nation Peoples who choose to execute such a project. Thus, it would be beneficial if more of the general public could enjoy this amazing Artwork. While Sacred Eagle I is not for sale to an individual; I would consider a sale if it were to be displayed. I would then contribute at least 80% of the sale to an art scholarship fund for First Nation art students. The remaining funds would help cover some of the material and supply cost. The benefit would be more exposure of this deeply rooted and very beautiful First Nation Sacred Art Form to the public and simultaneously help fund education for First Nation art students.
I launched Sacred Eagle 1 on Memorial Day 2016 with the family – what a day it was. It proved to be everything I had hoped for in the water -stable and fast as it is 22” wide and 18’ long.
My next project will be a prototype skin on fuselage frame; this time an elegant and graceful “Greenland” style kayak that may lend itself to a production model for the old man. My “Florida Room” and garage is getting full so I may have to consider selling one of these.
