Birch Bark Cape Collar 1935 - 1942

Curator: Look here; this intriguing watercolor is called “Birch Bark Cape Collar” and it was produced by Charles Charon sometime between 1935 and 1942. Editor: My initial impression is that it seems quite intentionally decorative. The limited color palette, dominated by browns, gives a certain earthiness, yet the precision of the geometric patterns betrays a desire for adornment rather than mere utility. Curator: Yes, the artist’s approach here is very interesting. He employs watercolor, along with some drawing elements to represent the design of a garment deeply embedded within indigenous traditions, though rendered in a relatively conventional, representational style. Editor: I'm drawn to the way the geometric designs form horizontal bands across the composition, which in turn divides the collar into sections. It feels almost like reading a text, where each band conveys distinct, possibly symbolic information. Curator: The placement of specific imagery would absolutely have social and cultural meaning. Unfortunately, it is not completely possible for us to interpret all symbolic values from an outside context, though it does lend itself well to folk-art style. The choice to depict this object – a functional yet beautifully decorated cape – is significant. Editor: And do you believe there is a certain flattening effect caused by his selection of medium? He is using watercolors and other drawing implements to show the materiality of what is in essence a three-dimensional collar… which further pushes this toward decorative art. The slight off-center rendering increases focus on the item itself instead of the surrounding atmosphere. Curator: Indeed. By simplifying the contours and emphasizing surface ornamentation, it pushes this object into the realm of design. The painting mediates its practical function. There is inherent value both inside and outside the painting itself, in Indigenous American traditions, such garment details serve not only as protective layers but also as signifiers of status and cultural identity. Editor: So while Charon’s visual choices do remove some of that physical dimensionality, that constraint ironically pushes us to explore beyond what’s strictly depicted. It invites an inquiry into the symbolic weight of such adorned objects. Curator: Exactly, viewing this today really showcases art’s ability to transform even ordinary, utilitarian objects into something far more complex, serving as a visual key into understanding culture and personal history. Editor: Ultimately, this "Birch Bark Cape Collar," provides a snapshot, not just of the artist's technical rendering, but of culture and identity itself. It displays not only aesthetic interest but also of symbolic narratives through detailed construction.