Camosun College says their applied research and business innovation arm 鈥� Camosun Innovates 鈥� has developed a "ground breaking" technology that allows totem pole carving using sustainable second-growth cedar that combines traditional Indigenous art practices with modern engineering.
Originally imagined by Indigenous artist Carey Newman, the apparatus allows carvers to work with multiple beams of second-growth cedar instead of old-growth logs.
The project, which Newman calls 鈥楾otem 2.0鈥�, emerged from what he says is a deep commitment to preserving old-growth trees while advancing traditional art forms.
鈥淲orking with the student team who designed the rotating mechanism was an amazing experience, as were all of the conversations with faculty and staff about how to build the rest of this mechanism,鈥� Newman noted in a news release. 鈥淎fter 10 years of dreaming up, designing and building this apparatus, Totem 2.0 is finally assembled and whenever I spend time carving, I am filled with the excitement of trying something new and different.鈥�
Camosun Innovates has developed two versions of the system: the original prototype which is designed specifically for Newman's work with second-growth timbers, and a second engineered to support traditional old-growth log carving with a capacity of up to 14,000 pounds.
"Our engineering solutions often focus on enhancing business and industry efficiency and productivity, supporting sustainability and green innovations,鈥� said Richard Gale, director of Camosun Innovates. 鈥淭his project brings that commitment to a new level. Our priorities were to address the engineering challenges in a way that would maintain the integrity of the art form, respect the cultural contexts of the carver, and support Carey鈥檚 vision of a more environmentally sustainable process. The technology developed doesn't change traditional methods 鈥� it quite literally supports them in a new way.鈥�
The custom-designed carving apparatus features a rotation mechanism that allows carvers to position source timber for access from any angle, what they say is a significant ergonomic innovation. The apparatus has been intentionally designed so that it can be disassembled to fit in a pickup truck for easy transport, facilitating use by multiple artists and communities.
"Totem 2.0 has already sparked interest from other artists and Indigenous communities," said Gale. "It addresses concerns about old-growth harvesting, while helping to make the carving process more accessible for those with mobility challenges."
The original project, funded through a two-year grant from the Natural Sciences and Engineering Research Council College and Community Social Innovation fund, represents a significant investment in preserving and sustaining Indigenous art practices.
