Featured within this elaborate
sculptural masterpiece is one of the most elusive of all kachinas
- the Shalako Taka.
"The Hopi Salako Taka
towers seven or eight feet in the air, a long, slender, shoulderless
figure that bows and dips as he moves in a most graceful manner.
He is always accompanied by his sister, the Salako Mana, as wella
s Hahai-i Wuhti and the Tukwinong Kachinas.
"The two Salakos are
distinguisable only by a few details. The male has a pink face,
earrings that are pendant eagle plumes, and the turquoise-colored
moccasins of the men."
- Barton Wright, Kachinas: a Hopi
Artist Documentary (248)
As with all of Aaron's kachinas,
this piece is masterfully detailed with superb painting and shading.
It has been carved primarily from one piece.
One of the most appealing
aspects of Aaron's work is the detail he puts into the overall
carving. Not only is the figure itself well carved, with meticulous
attention to the subtle textures and delicate painting, but there
is always additional symbolism and other meaningful Hopi motifs
depicted throughout.
This piece brings a variety
of sacred Hopi emblems together. It has a very delicate and spiritual
feel.
A beautiful series of flowers
also winds its way up the back side, featuring roses and others.
A graceful Hopi Sunface appears in the stylized form of a sunflower.
The base also features traditional
flatdolls.
All of these symbols come
together as a prayer of thanks for the gift of life.
Aaron J. Fredericks is an
accomplished carver whose work has rapidly reached the top of
its category. He consistently does well at juried competitions
including Santa Fe's Indian Market, the Heard Museum's Indian
Art Show, and others. His work can be found in the most discriminating
collections.
He is a traditional carver
from the village of Shungopavi at Second Mesa. He enjoys working
on his dolls, and gets a lot of inspiration from his cultural
heritage. His wife also encourages his work and shares in the
creative process by suggesting colorful themes seen throughout
his work.
