The Larger Than-Life Works of Tom LaFortune
Legacy of a Master
Watching Tom LaFortune work is simply mesmerizing. He comfortably positions himself relative to his medium, pulls out a pencil from his shirt pocket, and dives into a freehand sketch of a delicate but bold pattern on the back of a raven. This particular raven has emerged atop a 15-foot-tall beam of gorgeous clear-grained Vancouver Island western red cedar. It and its massive perch seem to float horizontally two feet above the sawdust and chip-laden floor of his shop on Southern Vancouver Island.
Tom is a celebrated Coast Salish artist based in Victoria, BC. He has been carving for nearly 50 years and his work is proudly displayed in collections around the world. A member of the Tsawout First Nation of the W̱SÁNEĆ (Saanich) peoples, he specializes in original and traditional Coast Salish art, hewn primarily in cedar. Having taken up carving at the age of 11, he is also an accomplished painter, patient teacher, and proud preservationist of local First Nations culture.
Employing minimal modern equipment, Tom passes much of his time with his own handmade carving knives or a small chainsaw in hand, working on a variety of pieces including paddles, dishes, drums, masks and poles. His work is known for its fluid style and skillful use of colour, with the largest monuments dotting a plethora of southern Vancouver Island’s public spaces.
Some of these notable installations include the Harvest Time and Owl Spirit poles on Duncan’s Station Street, the Crossing Cultures and Healing pole outside the Ministry of Health and Mental Health (the first Coast Salish pole in Victoria), the Butchart Gardens’ 100th anniversary pole, the S’ael pole overlooking the Royal Roads campus, and the Salish arch at the entrance to the Fort Rodd Hill National Historic site.
Much of the Coast Salish aesthetic is specifically more rounded and realist in nature as compared to the harder more geometric finishes of the neighbouring peoples such as the Nootka. Tom’s ability to unite his thorough understanding of local First Nation’s ancestral history with traditional Coast Salish carving techniques and forms has made his work highly sought after and widely acclaimed. He is frequently commissioned to carve welcome poles which depict traditional human figures with arms extended and palms open to the sky. Historically, these were a sign of welcome to one’s territory. These poles take on many shapes, sizes, and levels of complexity, from what he would consider a small figure standing 10 feet tall, to multiple human and animal forms stacked in excess of 50 feet.
Every piece Tom creates, no matter the size, begins with an HB pencil and piece of paper. Having now drawn these symbols in countless configurations over his long career, he methodically blocks out figures of people, animals, and ancestral patterns with practiced intuition, relying on his deep knowledge of their cultural significance to guide his hand. With the confidence of a master, Tom deftly lays out his vision by choosing figures and their placement such that their traditional meaning aligns with the significance of each particular piece. Manually transposing these drawings onto raw timber using precise measurements, he often steps back, tilts his head to the side, and opts to refine the form to reflect a more appealing or accurate aesthetic. Once satisfied with the rough shape, Tom begins immortalizing his design in the wood by relieving as much material as possible with a chainsaw. From this point on only small hand tools are employed and the real hard work begins.
Most, if not all, traditional carving knives are hand forged from old iron files, dull saw blades, or other high carbon scrap steel which is heated with a torch and worked while hot with a hammer and anvil. The blades are then further shaped by hand with metal files before being tempered and quenched. Sharpening with various grits of whetstones then hones the edge, while a razor sharp finish is finally applied using a leather strop.
Tom’s collection of carving knives and tools includes pieces dating back four decades or more, many of which he has made himself or have been gifted to him over the years. That Tom’s work is usually measured in the tens of feet, while most of his knives’ blades are only a few centimetres to a few inches long, is a testament to his woodworking skill and the patience required to create of one of his towering sculptures.
Tom is a warm, larger-than-life figure himself. Not only is he respected for his work, but also for his voice of reason, his leadership in the community, and his wit that itself is sharper than any knife.
If you ever have the honour of meeting Tom, he will immediately make you feel welcome with his matter-of-fact nature, a warm smile, and thoughtful conversation no matter your stature or background.
Tom humbly continues to inspire and educate through his traditional Coast Salish art, having also mentored numerous other notable carvers. His extensive body of work, on public display and held in many private collections worldwide, will undoubtedly serve as a powerful reminder of the First Peoples of this land and their traditions for many generations to come.
