Atsaq's artwork centers around the environment, the animals, fish, birds, dreams, visions and stories as part of the story.
"Maybe a child will one day discover there are short stories behind each original artwork and will get to read a special message that helped my ancestors continue a legacy thousands of years old."
Atsaq specializes in creating exquisite 3-dimensional mixed media wall paintings, which are carved with both natural and contemporary materials. His work is deeply rooted in the traditions of the Yup’ik Culture in Alaska.
In addition to his wall paintings, Oscar’s portfolio includes mask carvings, notable for their eyes that seem to follow the viewer from every angle. He also crafts beautiful apparel, designs, and accessories that add a touch of style to any collection. His unique blend of traditional and modern aesthetics sets his artwork apart, making it a valuable addition to any art collection and apparel.
Atsaq John Oscar vokste opp i en tradisjonell landsby Tununak, med påvirkning fra eldste og kunststudier ved University of Alaska, Fairbanks.
Atsaq lager vakre, fine masker og veggmalerier med blandede medier av moderne tredimensjonal historiefortelling i stil med Yup'ik-kulturen i Alaska.
"Jeg liker å fortelle historier inn i arbeidet med å feire Yup'ik-dansen, miljøet, dyr, fisk, fugler, drømmer, visjoner og forfedres historier."
1992 Kayleen Oscar and grandmother Unangik Jane Oscar
From 1977 to 1980, I had the profound honor and privilege of knowing Professor Ronald Senungetuk. His mastery and guidance in the intricate art of wood carving, particularly in crafting masks, left an indelible impression on me. His distinctive style significantly shaped my artistic perspective.
Despite the scarcity of documented literature on Alaska Native Art, Professor Senungetuk’s unwavering commitment resonated seamlessly within our Native community. He generously mentored enthusiastic students who would later emerge as influential figures in Alaska’s vibrant Native Art World. Alongside his fellow partners in a scholarship program developed under the Institute of Alaska Native Arts, he nurtured a new generation of fine artists.
Now, I am beginning to see a new generation of fine artists, influenced by those he taught before them, in a modern world with the entire world to their advantage. With the ability to acquire a following instantly through social media and become influencers themselves as modern Native artists.
Wow, I am still mostly a patched-up analogue from the old school in this fast-paced technology of the new world.
Ronald Senungetuk 1933-2020
Ronald Senungetuk was origially from Wales, Alaska. Born in 1933 until January 21, 2020. A world renown Inupiaq arstist worked primarily in wood and metal. (Wikipedia)
Senungetuk was a sculptor and silversmith and was world renown for his abstractions of animal figures carved into wood and painted. He attended the Bureau of Indian Affairs school in Sitka then, the American Craftsmen at the Rochester Institute of Technology, receiving his B.A. in 1960. Senungetuk received a Fulbright Fellowship to study at Statens Håndværks og Kunstindustriskole Oslo, Norway. Senungetuk and his wife, Turid, an accomplished silversmith, both lived in Homer, Alaska.
Senungetuk wanted to be identified solely as an Inupiaq artist and said "A lot of people will call you an Eskimo artist. I'd rather be an artist who happened to be Inupiat."
His work was exhibited at the Anchorage Museum, the Museum of the North at the University of Alaska Fairbanks, the Native Medical Center in Anchorage, and the Pratt Museum in Homer.
Atsaq John Oscar briefly studied under Professor Ronald Senungetuk, from 1977 to 1980. Senungetuk was the founder and Director of the Alaska Metalsmithing and Native Arts Programs at the University of Alaska, Fairbanks.
Atsaq also studied metalsmithing under Glenn Simpson. Although incomplete from his studies, he later used it to hire workers in Tununak to make jewelry by combining whale baleen, walrus and mastodon ivory onto silver.
In 1978, Senungetuk and Atsaq met with famous master elder carvers in Bethel, including Kay Hendrickson, Nicholas Charles, and Qussauyaq “Uncle John” (Atsaq’s Father-In-Law). The Yupiiit Piciryarait Cultural Center in Bethel holds some of their original masks and dance sticks.
Twenty-three years later, Atsaq finally returned to Fairbanks to attend the Alaska Native Federation of Natives Convention. Senungetuk and friend Alvin Amason, both 3-D wall painting artists, were among the first to view Atsaq’s artwork in 2003. Senungetuk drew closer inspecting their construction, then stood up smiling hard, chuckled and said, “These are pretty neat; I think these will do well,” then laughed again in that particular Senungetuk style of a happy laugh.
My Influential Artists
Besides Senungetuk theses are my other respected artists who have also made direct influence to my artwork. Sylveter Ayek's smooth rythmic flow of his subjects has always facinated me. Glenn Simpson taught me some metalsmithing and casting. Alvin Amason, my major influence with his fine 3D paintings and credit him for what I do today. Kesler Woodward with his fine colorful contrast between each color, light and dark, space and symetry in motion. These gentlemen showed me the eye for detail that requires quality in motion. But I'm only good as my last piece. Quyana!
Atsaq John Oscar
Gallery
Once Our Way
Produced, Directed and Filmed By
Andrew J. Chikoyak, Tununak
Chris Weber, Filmkraft Services, Editing
Joseph L. Chikoyak, Sound
Richard R. McCurdy, Music
Tununak film
YouTube Last opp av
Jeg er glad med stor beundring og respekt for å ha kjent disse ekte Yup'ik-, Cup'ig- og Inupiaq-herrene som delte forfedres visdom og kunnskap gjennom sin fine kunst.
The documentary “Once Our Way” is about the Yup’ik residents of Tununak, a village on the Bering Sea Coast of Alaska. The film begins with Francis Lincoln, one of the last Yup’ik elders, reminiscing about the history of the site. He mentions that the Qasgiq, a communal sod house, was a place of celebration for the ancients and was always filled with celebrants.
Francis also laments that the younger and older generations are losing their ties to the ancient knowledge and culture. He predicts that the society will change so much that they will have forgotten their cultural heritage. However, he sees hope in the Qasgiq, which he believes is a symbol of preserving some knowledge for the younger generation.
Francis lived directly off the lands and waters before the Bureau of Indian Affairs directed the Yup’ik residents to make a permanent location in Tununak. In the 1960s, some families were still living in traditional sod houses and recently relocated from seasonal places.
The scene shows the men replacing old logs on the Qasgiq, which was used as a place to celebrate first catches, naming ceremonies, dance practice, and even dry steam baths using a bonfire in the middle of the pit. Many stories were shared, and celebrations and ceremonies were held in this ancient place.
Atsaq reminisces about his childhood home next to the Qasgiq. In more than one occation he was awaken by a slow drum beat around 3:00 AM eachtime. He still wakes up at the same time even today. He believes that the Holy Spirit has blessings and wisdom to share, so he prays each time.
Grass Baskets of the Delta
Beautiful baskets from the Yukon Kukoskwim Delta
Collection
Alaska Native Medical Center
Yukon Kuskokwim Health Corporation
