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Spirit of
Lekwammen - Worlds Tallest Totem Pole
The Other Side of the Story
When I look back into my clouded memory, 1993 seems so long ago, even
though I’m only 43 now; I have experienced many wonderful projects with an
abundance of amazing people. Part of the journey I would like to wander
into and share with you
here is one that was inspirational, educational and very egotistically
political (definitely a guy thing).
I was a few years into my gallery ownership business with my family, when
Salish artist Richard Krentz appeared in the doorway selling cedar
bentwood boxes. He was an ex-logger extraordinaire, and was boldly jumping
into the ab-art industry
(like many of us ambitious non-rez entrepreneurs have done) with an
expertise of wood that is unmatched by any I’ve ever known. Richard is a
brilliant workaholic who strives for an unrealistic retirement plan. (He
really loves his work).
After our first brief meeting, we didn’t speak to each other until the
spring of 1992 (over a year later). This is when the illustrious project
re: `The Worlds Tallest Totem Pole` was introduced to me. He explained his
wonderful idea of how all the west coast Ab-Nations could come together in
one spirit and work side by side proudly representing their people in
front of the entire world. How could I not want to be involved? There were
a few perks and a number of negatives to think about. It
was strictly a volunteer project so there was no pay. The totem was to be
carved in Victoria, so it required a lot of travel back and forth, (which
I didn’t mind too much having had just bought a new Camaro). But then
there was the political battle
between the well-established Kwakuitl people (local artists and friends of
the Museum mainly) and Richard, with the Salish Nation (who were the
hereditary owners of Songhees Point where the totem was proposed to be
raised). I soon became somewhat of a neutral mediator because of my
personal ties in the art world and because Victoria was a big market for
my art too.
On the positive side, Richard’s ultimate quest (which he boldly
proclaimed) was to become rich and famous as quickly as he could; after
all he wasn’t getting any younger. For me, it was another opportunity to
gain exposure and to be part of a
project that brought other artists together for an experience of a
lifetime (if they could afford to donate the time). All in all, I guess I
was the representation of Richard’s expectations; working in spirit from
the heart. So much so, that I even
brought my 7-year-old son Alex in to help me work on my section of the
towering pole. Working on the totem was, as well, a great learning
experience for me. I hadn’t spent much time working on totems; it’s always
been jewelry. So, I learned a lot
and truly enjoyed the teamwork.
To cover this project in a brief statement is impossible. Remembering all
those who donated their time and shared their expertise is just about as
impossible
Unfortunately I cannot remember them all and I hope they forgive me. At
least in this story they can feel proud that their hearts were true and
generous. These others I speak of, Art Sterrit (Tsimshian Nation) Jessel
Bolten (Tsimshian), Heber Reese
(Tsimshian), Alex Helin (Tsimshian, and the youngest to carve on the
totem), Nancy Dawson and her son Anthony, (Kwakuitl), other names
forgotten I will also add to this story when my memory kicks in, or
someone contacts me about it. Note that all
the artists from the Northern Tsimshian Nation (mainly Hartley Bay) were
generously brought down at the expense of Art Sterritt, all expenses paid.
For some reason Richard was unable to obtain any funding for any of us, so
his project was definitely a team effort that went totally unrecognized;
no plaque and no acknowledgements and no money.
Alex Helin - Working hard
My career was definitely blessed by this project, but not without effort.
My own hopes and dreams involved many other people, as sharing and caring
has always been a family thing. This project was a learning experience
that taught me how to
work on a very large project that involved many people and many obstacles.
It is unfortunate that, other than Richard, we were not recognized for our
input. Somehow we have to accept this and work hard where we fit in.
Richard Krentz was raised by a hard working father who made his living
working in the logging industry. He learned fast how to fend for himself,
working hard and inventing ways to progress fast in a big way. I have
learned a lot from him and have
been inspired to look beyond the impossible. He and his wife Cheryl helped
me through some rough times after the project was finished and have always
been like family to me. Despite some inevitable bitterness felt by some
towards Richard, due to the lack of recognition for our involvement, there
were a few of us that took advantage of every opportunity to get exposure
and advance our own careers (myself included).
With an overview of this ‘quest for greatness’, the beauty of the finished
product was overshadowed by the detriments of personal indifferences. Then
once the hype was gone, the memory of this beautiful carving of a west
coast tradition got chopped down to a tiny 40 foot regular totem from it’s
glorious 182 feet. Humbling as it was for Richard, and as victorious as it
was for the local warriors of selfishness, seems everyone soon forgot
about this beautiful, western, red cedar (tallest ever taken out of B.C.
Forests and probably straightest and most totem pole worthy), and how it
lent itself to become transformed by human hands and tools of many types;
into a glorious proclamation of art reaching for the heavens. But like the
tower of Babel and many other quests to ‘rise above’ the rest of the
world, it was brought to its knees; with the trickster (Raven) himself
still perched atop (40 feet now), victorious, but still hungry.
So to Richard, thank you for inviting me into your quest for greatness,
and to the other artists and people who had nothing but generosity and
love to share, I thank you for your friendship it was a lot of fun .I will
always treasure our time we all spent together, for the totem is truly a
tribute to us all and a lesson learned. To my family, I say, forgive me
for getting lost in my own quest for recognition. What I neglected was far
too big a price to pay.
To other artists out there, I say, never stop believing in yourself, and
never stop experimenting. Be careful of how you donate your time. Be wise
and discerning in your choices of people who ‘propose’ to help progress
your career. Seek the
council of the wise; not just the advice of the successful ones. They may
be just lucky and there is no wisdom in that, although most have paid a
price for their glory.
Moreover...run from anyone who says they will make you rich and famous!
Trust in those who walk their talk and teach the young, for they are our
future. Work hard, and as Anthony Robbins says, “Live with Passion”.
Extra Details:
The totem took approximately 3 ˝ months to complete; and was made from one
red cedar tree that was over 500 years old.
There were 11 people who worked on the project, (as artists) and many more
who helped in other capacities.
In 2001 it was trimmed down to 40 feet because some of the local
authorities figured it was an air traffic hazard. As well, many waterfront
residents didn’t appreciate the two sets of oversized cables that held it
up. I don’t blame them for being irritated by the cables. It was a foolish
‘safety’ idea decided by the City and the Commonwealth Games Committee.
These totems (no matter how tall) can withstand a lot of punishment
without being supported by any cables. At best, one set of finer cables
would have been acceptable, but who could change the minds of authority?
With my big beaked Raven now sitting proudly on top of the totem, looking
over the beautiful Victoria inner harbor, and the remaining 140 feet of
the totem now displayed on the Songhees Indian reserve, the memory of that
proud cultural experience lives on. Divided in two areas of the Salish
territory, but unified in the hearts and memories of all who experienced
the true meaning of the `Spirit of Lekwammen`.
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Victoria XV
