Kahnawake avait caressé le projet d'un jardin et d'un sanctuaire dédiés à Tekakwitha : avec le sculpteur Henri Hébert en 1939-1947 et avec l'architecte Marcel Parizeau en 1945. Il est réactivé, un demi-siècle plus tard, à 2 415 km plus à l'ouest par une petite localité d'un peu plus de trois milles habitants de la nation Osage, sise à Pawhuska en Oklahoma (OK), où la croix, le bronze et la chapelle occupent la partie est d'un grand jardin au sud de l'église et du presbytère de l'Immaculée-Conception (plan légendé). Ce sanctuaire est dédicacé le 8 août 2008 et le financement qui avait manqué à Kahnawake est au rendez-vous au pays du pétrole : le coût des travaux entamés depuis 2002 est alors estimé à 250 000 $US (Tulsa World 2011.12.24 web ou pdf ; soit l'équivalent en 2021 de 312 577 $US ou de 388 927 $CAN), ce qui ne comprend pas la chapelle érigée quatre ans plus tard en 2012.

Rev. Chris Daigle, Carla Powell, Mike McCartney.
Photo Tulsa World 2011.12.24 (web ou pdf).

Tout commence dès 1999 sous l'initiative d'Opal Delos Rector de la nation Osage ayant obtenu plusieurs faveurs par l'entremise de Tekakwitha (selon sa nièce Carla Powell). Élevée à Pawhuska, mais vivant en Arizona, Rector est aidée sur place par Mike McCartney puis, après son décès (2002.05.26), le projet est poursuivi par le Rev. Chris Daigle (voir aussi Osage News 2012.11.06 web ou pdf).

C'est Rector qui a suggéré les symboles à placer sur la croix, haute de 26 pieds, installée en février 2002 par l'artiste Cha'Tullis de la nation des Pieds-Noirs établi à Hominy OK : la trinité et la couronne d'épines au croisement des bras de la croix, le lys stylisé de Tekakwitha, deux plumes d'aigles pendant à l'extrémité des bras.

En 2002, la croix est simplement montée sur une base de béton, bientôt camouflée par un aménagement de plantes dans une rocaille au milieu d'un terrain gazonné. Elle présente une double structure réunie par des entraits formant plusieurs intéressants motifs et dessins. La fleur de lys stylisée se superpose à toute la surface de cette croix, mais sur un seul côté. Tour autour de la base, on ajoute un pavement de pierres. Au fil des ans, l'écrin de végétation des jardins prospère, devenant de plus en plus présent et abondant.

En 2004-2005, le sculpteur Joe Kenney est l'auteur d'un projet préliminaire pour le bronze du sanctuaire de Pawhuska. Le vêtement colle à la rigidité de ce corps encore relativement jeune mais au dos courbé par la maladie et les mortifications. Les franges sont utilisées depuis 1906-1927 CM-MC, par 1927 Nealis, puis maximisées par 1980 Steele. Les lignes d'assemblage des peaux de la jupe ont principalement été diffusées depuis les années 1980 par Demetz Art Studio. Le visage ovale y est résigné et doucereux comme chez Nealis, mais présente davantage de traits autochtones. Les attitudes et postures procèdent d'un tout nouveau regard, les deux bras tendus pouvant même constituer une métaphore de son nom : « Elle approche, elle meut quelque chose en avant ». Dans un geste d'humilité et de prière inhabituel et novateur, ses paumes sont tournées vers le ciel, la gauche tenant la croix du chapelet suspendu à son cou. Il se dégage de cette représentation une candide naïveté. L'ancien administrateur est alors à l'aube de sa toute nouvelle carrière de sculpteur.

Joe Kenney posant à côté de sa City of Sugar Land Texas 1959-2009 50th anniversary commemorative sculpture, 2009 (web ou pdf).

Collaboration du sculpteur Joe Kenney.

In 2001, I began a series of sculpture classes knowing that it would require a number of years for my skills to achieve the level I desired before casting a sculpture in bronze. A top sculptor and a foundry owner both advised me that if I was serious about sculpting at the professional level that I should study figurative sculpture under Paul Moore, Sculptor-in-Residence at the University of Oklahoma. For five academic semesters, beginning in 2003, I attended Paul Moore’s university classes on Tuesday and Thursday mornings. Paul Moore and his assistant permitted me to work alone on large projects during the afternoons. The other days of the week, I worked at home on a 24-inch square sculpting table. During the summer breaks, I worked part-time in the university studio on large sculptures, my own molds and two sculptures for the university collection. A good friend, who was a retired physician, had a profession level large woodworking shop. He insisted that I move in at no cost to work on my sculptures. I agreed to move in after completing university classes. My friend was a great help if my anatomy was not precise. He enjoyed the company of having a friend sculpting in the shop.

Joe Kenney in studio with Tekakwitha study #1 at the far left on the table (web or pdf).

My discussions with the lay person at the church in Pawhuska began in 2003 while I was attending classes at the University of Oklahoma. A committee selected my 14-inch model in clay to be enlarged for the monument. The Commission Agreement was executed in 2004, after the 14-inch model was approved. I began the casting process for Kateri in 2004, with initial casting completed in 2005. The plan was to cast 35 bronze of the 14-inch model for the church to sell at $3,000 each to finance creation of a 9-foot statue of Kateri for a proposed shrine at Immaculate Conception Catholic Church in Pawhuska OK. A mold was made from the clay model and only 17 small bronze sculptures were cast at cost, to begin the fundraising process, and sold to donors for $3,000 (US) each [17 x US$3000 = US$51,000]. When my commission for Pawhauska was terminated, I ended up with a few unsold bronze statues from the 17 that were cast and hold the copyright and mold for more castings. One of the 17 bronze statues is possibly in the Sanctuary.

No. A metaphore was not in mind. I stated the model with her hands reaching out. Then, I sculpted a cross in her left hand to represent Kateri embracing Christianity where there was some hostility to Jesuit missionaries by indigenous people. The Rosary was added last.

Joe Kenney, Tekakwitha study #1, July 2007, life-size portrait bust cast in plaster with a bronze-like patina,
National Shrine of Saint Kateri Tekakwitha, Fonda, New York (web ou pdf ; liste des oeuvres web ou pdf).

Tekakwitha jeune avec des nattes.

After the first casing of 14-inch bronze sculptures, I created Kateri Portrait Sculpture Study #1, life-size bust in clay as a model for the 9-ft. The life-size portrait model would be enlarged 1.5 times for a 9-foot statue. In the university class, Paul Moore commented that the nose looked like his grandmother, a Native American. The pastor of the church in Pawhuska told me that the nose did not look like an Indian (Native American). Paul Moore is an enrolled member of a Native American Tribe; his great-great grandmother arrived in Oklahoma (Indian Territory) under the Indian Removal Act, called the Trail of Tears (web).

Joe Kenney, Tekakwitha study #2, life-size portrait bust cast in plaster with a bronze-like patina : • July 2007, Bureau of Catholic Indian Missions, Washington DC ; • September 2015, Austin Presbyterian Theological Seminary, Austin Texas (web ou pdf ; liste des oeuvres web ou pdf).

Tekakwitha âgée qui rappelle les figures tutélaires de Gus Antone, mais avec les cheveux attachés à l'arrière, les oreilles découvertes, une croix pendentif à son cou.

Rather than dispute the priest’s opinion, I created Kateri Portrait Sculpture Study #2. The Executive Director of the Tekakwitha Conference introduced me to Fr. Raymond Buko, S.J., who had taken pictures of Mohawk women in 2006. Fr. Buko and me communicated via email regarding pictures that would be helpful for my sculpting. Next, I created silicon rubber molds of both studies and solid plaster casts with bronze-like patinas to exhibit at the 2007 Tekakwitha Conference. I asked attendees which of the two studies they preferred. A Mohawk Tribe member stated that one of the two portrait studies looked very familiar. I did not tell her that Fr. Buko had sent photos of her to me, with her permission, to use for my sculpting. Studies #1 and #2 for the 9-ft bronze have not been cast in bronze. These two studies in plaster, listed on my websites, are all gifts. It is my practice to not sell plaster studies. To the best of my knowledge, the two different life size portrait sculptures cast in plaster are not in Pawhuska.

The commission agreement was terminated in 2007, at my recommendation, before the enlargement to monument size, upon me learning by a lay person that the Catholic pastor selected another artist from Pawhuska who owns a bronze foundry, and my conclusion that the approved design would never satisfy this priest. The commission agreement was cancelled by mutual consent, without dispute, signed by the lay person representing the church and me. This occurred after I returned from the Tekakwitha Conference in Baltimore, Maryland, where I exhibited the 14-inch bronze and two portrait sculptures as model for the proposed 9-ft. bronze.

This artist's first submission was not selected by the committee. The monument installed in Pawhuska is not what the artist initially proposed. My best guess is that the pastor had a Western movie impression of Native Amerians, and told the artist what to do.

My sculpture for the proposed monument at the Pawhuska church did not show any smallpox on her face. In my research about Kateri, I read that a priest observed that the smallpox disfigurement disappeared at the time of her death. Therefore, I did not sculpt pox marks on the 14-inch (36cm) standing figure or the two life size portraits.

Photo Mary C. 2014.03.15.

Le 8 août 2008 on dédicace le sanctuaire avec l'installation d'un bronze grandeur nature de Tekakwitha dont certaines photos montrent des nuances de coloris brunâtres. Il siège au milieu d'un dallage minéral tout en ménageant un espace végétal tout autour. Les pieds, ainsi qu'une petite tortue totem de sa tribu d'origine, reposent sur une large base ; mais la végétation les camoufle de plus en plus.

« Pawhuska, Oklahoma is the home of the Bronze Horse Foundry, established in 1981 by artist John D. Free, Sr. He wanted to control the quality of sculptures that he and other artists spent long, laborious hours designing and sculpting. [...]

John D. Free, Sr., an Oklahoma painter and sculptor, is not part of the day-to-day operations, but occasionally stops by the Bronze Horse. Free still creates his own art and his wife, Rayma, does the accounting for the foundry. His sons, John, Jr. and Matt, now operate the foundry, each in charge of different aspects of the business. While John deals with the artists and the general “business of art” and Matt oversees the fabrication of the bronzes, they each fill in the different areas of the foundry when needed. [...]

The Bronze Horse Foundry is located 4 miles south of Pawhuska on Highway 99. »

Sue Moss Sullivan, « Bronze Horse Foundry in Pawhuska », Art Focus Oklahoma, bimonthly publication of the Oklahoma Visual Arts Coalition, 2006 March/April, p. 16 (web ou pdf).

John Free, Jr. Patinas Soaring Spirit by Rosalind Carter, Tulsa (photo by Sue Moss Sullivan).

« When the building housing the Bronze Horse Foundry was gutted by fire on December 12, 2012, John Free, Jr. moved his family-owned business to the Pawhuska Armory. Seven months later, the Bronze Horse is ready to ship its first piece from the new location – a replica of renowned sculptor Kelly Haney’s “The Guardian.” According to Cindy Free, most castings take about six months without a mold and four months with a mold. “We already had some of the pieces already thru the mold process,” said Free. “Most of it was ready to cast before the fire.” Free explained a lot of their bigger molds were kept in a separate building which escaped fire damage. The Armory appears to be working well for the Bronze Horse. Although it is very spacious, Free said they are evaluating the need to upgrade lighting in the main auditorium as well as solutions to reducing sound issues. “The noise from grinding and pounding echoes throughout the large area,” said Free. “Although our workers wear ear plugs, we are exploring various sound-proofing options.” Two air conditioned rooms in the back of the building serve as an office and wax work area. Currently, there are no immediate plans to rebuild the Bronze Horse. “Once we get back on track, will reevaluate rebuilding — very costly,” Free said. The Guardian sculpture adorns the top of the Oklahoma Capitol dome and was created by internationally-recognized artist and former Principle Chief of the Seminole Nation Enoch Kelly Haney. The Bronze Horse’s commission is being shipped to Norman. It is one of several seven-foot replicas on display at various businesses and college campuses throughout the state. Kelly currently resides in Norman and works full-time as a sculptor. »

Kathy Swanj-C, « Bronze Horse completes 1st project since fire », Pawhuska Journal-Capital, Jul 10, 2013 at 11:29 AM (web ou pdf).

« “In 1980 he [my father John D. Free Sr.] partnered with his brother-in-law, Ed Bivens, and they opened the Bronze Horse Art Gallery, which is still operating today [in Pawhuska]. Our family has worked for more than 100 artists and we produce thousands of sculptures that have gone all the way across the United States and around the world. He was always proud of that – that through these endeavors he was able to open a foundry and see a lot of artists’ careers start from that foundry and grow. We’ve been doing it for over 30 years. It’s hard to believe [photo (web) and testimony of John D. Free Jr., October 2, 2016, web ou pdf]. »

Le geste fort, voire agressif, du bras et de la croix de la sculpture créée par John D. Free Jr., pour le sanctuaire de Pawhuska, a été réutilisé par la Mandan Hidatsa Arikara Nation de Fort Berthold, North Dakota (web et Google Maps), pour une flamboyante bannière exposée à la Tekakwitha Conference tenue en 2017.

Cette chapelle est inaugurée l'année de la sanctification de Tekakwitha. Dans la niche qui était vide en 2012, on retrouve une sculpture de Tekakwitha en 2016. On peut y reconnaître une oeuvre de tirage commercial diffusée en de plusieurs exemplaires par Demetz, une entreprise italienne.

Demetz et l'industrialisation artisanale en série !

Détail tiré de la photo de l'intérieur de la chapelle par Osage News 2016.07.14.