Cultural Art

A lengthy blog post is ahead, so grab a tea or a coffee and let’s dig in.

Today’s blog post was inspired while reading Suhail Mitoubsi’s blog post called “Exploring Visual Parallels: Aboriginal Art and Abstract Art.” A brief summary by CoPilot states:

The blog post reflects on the visual similarities between Aboriginal art and abstract art. The author, an abstract artist, emphasizes that this is not a comparison but an exploration of observed parallels. Key points include the use of non-representational forms, storytelling through abstraction, the significance of Dreamtime in Aboriginal culture, and the spiritual and philosophical foundations of both art forms. The author also discusses the importance of the creative process and materials, and how art can bridge cultural divides while respecting the unique cultural contexts of each tradition.

I really appreciated Suhail’s insights and views on individually motivated art and culturally motivated art. Or context-wise as he framed it. It got me thinking that I should try to integrate some cultural aspects into some of my own art. Again, I am reminded of an artist called Faik Al-aboudi that I noted on the artist forum that he and I follow, who taps into his middle eastern roots. He often tells the story behind his art, which adds to it. Very powerful stuff!

Giving some more thought to this, I decided that I needed to figure out what my culture is, and how, if it does, reflects in my art. Am I a Canadian first and foremost? Is that my culture? Are my roots/culture Hungarian or Polish Ukrainian, based on my parents’ heritage, even though they were both born in Canada. Something to ponder, that is for sure!

While reading Suhail’s blog post I had many thoughts about a piece of art that I was going to create in an aboriginal style, that draws from his writing and an episode of Northern Exposure (S3 E12 – Things Become Extinct), an old TV series that I have been watching. Coming across Suhail’s blog post at this time was quite serendipitous, I thought. I had to take short breaks while reading his blog post to make some notes and sketch a couple images to help me remember where I wanted to go with it. Although I knew what elements I wanted to include, I knew that while creating the piece something deeper would appear.

Note that where I mention aboriginal people, I am not referring to any nation specific classification like First Nations, Inuit, or Metis in Canada (often called aboriginal, an umbrella term introduced in 1982). Nor Aboriginals in Australia, which are different than those mentioned for Canada. Nor Native American, American Indian, or Indigenous people in the USA. For my purposes here, it could refer to any of them.

This first painting below has the initial elements I wanted to include, the lineal path with the spots. It could represent painting on wood or leather. The spots could represent fingerprints, or the number of buffalo hunts the “artist” has been on. Who knows!

Early Stage of Aboriginal Art 1 – Created by Don Cheke

As I was imagining the first image, the idea of adding the aboriginal flutes, as seen in the Northern Exposure episode I mentioned came to mind. Perhaps the thinking for my first image came from my unconscious, which obviously remembered the flutes and being moved by the episode. By the time I came to paint the second aboriginal piece, I changed directions and what you see below came to be. I supposed I could have overlaid the flutes on the first painting. That might have looked okay.

Duck Flutes x3 – Created by Don Cheke

Later in the day, after I had read Suhail’s blog post, and before I created the art, I had a chat with my wife, Denise, about what constitutes Canadian culture.

Some of what comes in the first paragraphs below will sound familiar as I mentioned bits of it above. The first bits are an introduction of sorts because I wanted to give Denise a sense of where we were heading. Please bear with me.

So, I was having a beautiful discussion with the lovely Denise Cheke. I was telling her about what I had read in one of Suhail’s blog posts; about culture and art and things that impact that. I mentioned that he and I, as “western” abstract artists create art based on our own individual selves, what we feel, what we think. Aboriginals, having a 65,000-year span of culture and art, typically incorporate their culture into their art. So, in a larger sense its cultural as opposed to individual. Not that aboriginal artists can’t do individual expression as well, but more so their art focuses on culture. I further elaborated on the fact that I am Canadian with Hungarian Polish Ukrainian heritage, and what my thoughts on that were.

I asked Denise what she thought her culture was. She said that she looked mostly at herself as Irish because that’s what her family background is, even if the later generations were born in Canada. When she reads Irish books and looks at Irish imagery her Irish roots and a sense of belonging is what comes to her mind. Those things appeal to her feelings of heritage. We then moved on to her thoughts about Canadian culture.

Me:
Denise, what is Canadian culture?

Denise:
Well, Canadians are typically known as being friendly and accepting, and tolerant and kind. We apologize a lot. We’re well respected, or at least we used to be well respected, as Canadians in in the broader world. Canada is seen as a thriving place to live and grow. In terms of specific culture, there are pockets of culture all over because we are a melting pot. None of us were here originally, other than the indigenous people and they have their own culture and beliefs and spirituality and so on. But geographically, we’re a little bit French, a little bit English, a little bit Ukrainian, a little bit Hungarian, a little bit Irish, and even a little bit Spanish. Really, a little bit of everything. All of that comes together and does it a create a specific Canadian culture? I don’t know.

Don:
What about art-wise and writing-wise, do you see anything that typifies someone who’s identifying as a Canadian writer or Canadian artist?

Denise:
I don’t think so. If I picked up a book, I wouldn’t necessarily know that it was written by a Canadian as opposed to someone from Britain or any other English-speaking country. Yet, I suppose that it depends on how the book is written. You know, if they use a lot of Canadianisms, or mentions locations that I’m familiar with, then I would say, oh, this is a Canadian author, but in terms of style, I don’t think that there’s a specific Canadian identifier. For example, when I read Michael J Fox’s books, I felt like I was reading, or having a conversation with a Canadian author, but is that because I know he’s originally from Canada? Is that because he often refers to himself as Canadian at heart even though he lives in New York. That said, is it a specific style of writing or is it because I know that he’s Canadian and he talks about it? I don’t know.

Don:
So, let’s assume, based on all of that, that there doesn’t seem to be a real Canadian culture per say. Do you think we’re missing something?

Denise:
I think that, because we have all these various cultures we bring together, we create something new. I don’t think we’re missing anything. I think that it’s wonderful. I appreciate the melting pot of Canada. I appreciate the bringing together of all the various histories and backgrounds and cultural things. You know, I haven’t got an ounce of Ukrainian in me, but I’m awful darn glad they’re here because I love perogies, 😊 you know what I mean!? That’s an example. I didn’t grow up with a Ukrainian connection in my family’s background. I never had a perogy until I met you. I didn’t know what a perogy was. On the other hand, we were Irish. I lived on potatoes. We ate potatoes all the time, and not just because they were free and plentiful, well not free, but cheap and plentiful. We did so because that was part of our culture. So, I think that Canada is a beautiful blend of all the histories.

Don:
Based on what you’ve seen and experienced in life, and maybe this isn’t very fair question, but do you think that Canada does what you stated better than other nations like the US or like England who both have lots of immigration and melting-pot status?

Denise:
Yes, I do, and I think part of it might be because we’re newer. As a country we are only a couple of hundred years old. England’s been there forever, and their ways are much more established. The Americans, they thrive on the American dream and financial success. I hate to say it, but that whole “make America great again,” is like a step backwards, away from integration and diversity. In some ways the USA seems, from my perspective, very self-centred. So, yes, I think we do a better job of it, but I think as Canadians we still have a long way to go, particularly in the last number of years. We are getting so many immigrants from so many other countries with such different backgrounds. We can, and must, work at tolerance and accepting and integrating their cultures as well. I don’t look askance anymore when I see women with hijabs or you know, men with turbans or whatever. I’m starting to see them as Canadian, just as I’m Canadian. But that has taken some learning because for so long we’ve been primarily French, English, and Indigenous, with little pockets of others.

I also conferred with CoPilot. CoPilot had this to say, confirming much of what Denise and I said.:

Me:
My wife and I were having a great discussion on culture, and although we’re from Canada, and consider Canada a melting pot, we wondered what you would say Canadian Culture is.

CoPilot:
Canadian culture is rich and layered – Canadian culture is a rich tapestry. It’s known for its multiculturalism, kindness, and politeness. Canadians have a strong connection to nature and are known for outdoor activities like hockey, skiing, and hiking. There’s also a distinct culinary scene with poutine and maple syrup being iconic. Indigenous cultures, with their deep histories and traditions, play a significant role. And don’t forget the arts – music, film, and literature thrive across the country. Quite a blend, eh?

Me:
I appreciate your humor with the final eh! LOL!

CoPilot:
Couldn’t resist! It’s a quintessential Canadianism, after all. 😊

I think that sums it up quite nicely, but I don’t really think it touches on what I feel my culture connects me with. Perhaps because Canada is a melting pot, I have grown up with the notion that my culture is the people in general, and what they can offer to the understanding of what it means to be human. Perhaps it is the broader strokes that allow me to see beyond the boundaries of race, creed or class – to recognize the shared canvas beneath. Although I am Canadian and can identify with what was previously discussed above, I think my culture is more defined by the whole of humanity, as opposed to a segment(s) of it.

In 1996, I produced a book with a series of mandalas that I created which symbolized my journey of recovery and my place in the world. I called this book Deep Within – The Mandala Experience. Looking back now, I think this was an attempt to define my culture, and having found similar beliefs in fellow travelers, to express that in artistic form. Below are the detailed notes seen within the book for Mandala 5 – Meeting of the Spirit.

Mandala 5 – Meeting of the Spirit – Created by Don Cheke

Meeting of the Spirit

To each of us comes the knowledge, the power, and the spirithood of a thousand thousand souls.

This mandala represents a great deal of my own spiritual texture while, at the same time, it represents a universal theme.

The written names are the names of the individuals who have had the most significant influence on my life. All of these individuals have influenced me with either unconditional love or with their writings, their philosophies, and their visions, perceptions and originality, with their dedication to truth and their dedication to the human condition.

The three yellow spirit lines directed at each named individual represent the spiritual light, the spiritual values that these individuals have received from the table of others.

The wide yellow circle represents the table of giving, of sharing. Each person at this table offers their unique philosophies. Although the plates at this table contain only one item there is always much more from which to learn from these individuals. I have placed at the table the philosophy I have been most moved or influenced by. Each plate is also connected as each individual has undoubtedly contributed to the others.

The inner yellow circle with the colored arrows represents my soul, our soul. Each soul is made up of all aspects of life, constantly flowing in to keep it charged. My earthly blue interior is directed outward as I attune myself to the spirit. In doing so my spirit moves out to others in a similar fashion as the initial three yellow spirit lines I presented. Hopefully my positive spiritual behaviors, actions and ideas will affect many others in the way that the named individuals on this mandala have affected me.

The symbol on the plate of Carlos C. Valles is that of infinity. I chose this symbol for Carlos because he symbolizes the multitudes of spiritual individuals who have made a difference in the way the world sees. Those spiritual beings of the past, the present and those of the future, who will find in their heart the calling to share, to make grand efforts (although not always in grand view) in the name of humanity.

The symbol on the plate of Richard Rohr is the nine-point star. The nine-point star represents the nine faces of God. It is said that if we can understand the complexity of each face and then present each face, at once, in all its glory then, we too, will be as God or, at least, see life as God sees life. The nine faces of God are Serenity, Humility, Truthfulness, Equanimity, Objectivity, Loyalty, Joyousness, Passion, and Action.

The symbol on the plate of Denise Cheke, who is my wife, my gift from God, is the joined hearts, a symbol of intimate relationships. Specifically, for Denise and me it is a symbol that although we must travel our own spiritual journeys we can travel together, yet separate, making the journey of life a little less alone. The greatest gift a person can receive, which I have received from Denise, is the gift of love. This I have been fortunate enough to receive in amounts previously thought impossible.

The symbol on the plate of the fourteenth Dalai Lama, Gyatso Tensin, is that of high spiritual dignity. On this mandala the Dalai Lama is one of three whose actions, whose teachings and writings have given me hope for a better tomorrow, a tomorrow where our vision of peace will be realized. Blessed is the individual who can love in the face of hate.

The symbol on the plate of Barbara Thiering is that of the Dead Sea Scrolls, the scrolls that are imparting on us a much feared truth. Through her scholarly wisdom Barbara has pointed out to us that dogma has left us confused, tattered, torn and feeling helpless. The admiration I feel for Barbara is immense, as she has gone up against the apparently unchangeable ideas of time in an attempt to present an indubitable truth. A truth that will enlighten those dedicated to spiritual truth. At great risk, Barbara has done the previously unthinkable – questioning the basic truths of the Bible. She will undoubtedly be persecuted by those too intransigent to change.

The symbol on the plate of Theodore Isaac Rubin is that of grounding or grounded-ness. Theodore brings together all of psychology and presents it in an easily understandable, earthly way. He presents real people and real situations, all of which we can relate to ourselves. This simplicity (in a positive sense) is a most welcome gift.

The symbol on the plate of Karen Horney is also a symbol of intimate relationships. Through her great psychological pursuits, she too, has imparted on us the same-ness, if you will, of men and women. Men and women both have a journey to live, both have to come to some kind of understanding of their purpose, and both have to be productive to live fully alive. Although biologically different one is not better than the other is. Only through the acceptance of this fact will we be able to carry on forward in the pursuit of true humanity. Because of Karen Horney’s place in this epoch of time, she too, had to struggle hard to make known this indisputable truth.

The symbol on the plate of Albert Einstein is that of an offering. The offering made here by Albert is the idea that science and religion are inseparable. The intersecting circles represent another intimate relationship. This ‘whole-thinking’ has been instrumental in dissipating previous ideas to the contrary. It has added to the peace and integrity of all that have come to accept this. Great is the person who uses the power he or she has been given to bring good, and not evil, to the world he or she inhabits.

The symbol on the plate of Hannah Hurnard is that of the hart, which could just have easily been the hind. In her book ‘Hind’s Feet on High Places’ she tells my story of Little Much Afraid who struggles deeply with life. Finally facing her greatest fears, she follows the Shepherd (the hart) to high places where she learns the greatest lessons of life. By overcoming her fears, she becomes a shepherd herself, enlightened and capable of enlivening the lives of others.

The symbol on the plate of Carl Jung is that of the collective unconscious. In its essence this whole mandala is symbolic of that. Through our interconnectedness with others, we make a great force capable of doing the greatest of humane deeds. Feel the power; let it shine for the good of all. No one of us needs to be alone. All one need do is be open, receptive, and above all, giving.

The symbol on the plate of Bertrand Russell indicates two things. First of all, the text symbolizes the great literary contributions that this man has made. The black cross, generally symbolic of the Christian religions here symbolizes that whether Christian or not we each, at times, feel the persecution and crucifixion of our own being. This crucifixion business is hardly a rare thing. It is, rather, a very common occurrence. It is, in this sense, a representation of the many difficulties we encounter during our life span.

The symbol on the plate of Scott Peck is also symbol of high spiritual dignity, again, one of the three on this mandala. Scott Peck has been very significant in my journey as he was among the very first whose writings spoke of my many common beliefs. Many of his writings have been of genuine reassurance to me.

The symbol on the plate of Richard Bucke is that of Cosmic Consciousness. This idea was presented in his book of the same title. The idea of Cosmic Consciousness, the third evolutionary stage in human consciousness, is very similar to the idea of enlightenment. The book is presented in a fashion that has left me feeling very grateful for having read it. The attainment of Cosmic Consciousness, something I feel identifiable with, is an evolutionary state I feel will be quite welcome in the future. When? I do not know, but come it will.

The symbol on the plate of Kahlil Gibran is that of the gifted text. The many writings of Kahlil Gibran are words straight from the soul. I am ever moved by many of his writings. Some, straight to the point, are indicative of some of our greatest human trials, while others, are suggestive of worthy paths of pursuit.

The symbol on the plate of Erich Fromm is the third, in the set of three, indicating high spiritual dignity. I think I have measured ‘all’ writings, ‘all’ ideas to those of Erich Fromm. This fellow human being has been my greatest friend (aside from Denise, of course) even though I have never had the pleasure of meeting him. Although I know he was only human, I can hardly resist thinking him as my mentor, a very powerful guiding force. I look forward to the day when I will be able to meet with him somewhere within the Assemblage of Goodness. I thank Erich for the many inspirational books he has left behind for all of us, for all time. Erich’s numerous books are a great guide for any spiritual traveler.

Lastly, the symbol on the plate of Siddhartha Gautama, the Buddha, is that of the Eight-Fold Path, a map, so to speak, that leads to enlightenment. Without modern dogma attached it is such a simple map. Difficult to follow, well yes, but dear Siddhartha never intended for us to be perfect – only to try hard. The Eight-Fold Path is right opinion, right intentions, right speech, right conduct, right livelihood, right effort, right mindfulness and right concentration.

Prepared by Donald B. Cheke on March 4, 1996 in the hopes that we as a people will come to understand the interconnectedness of ‘all’ peoples. We are each, every one of us, vital to the stability, the future growth, and the continuation of this most precious home we inhabit. Blessed are those who hold the vision of the ‘Big Picture.”

With all this rattling around in my head, I decided to add my cultural symbols to my first version of the aboriginal art seen earlier. The symbols add that something special, in my humble opinion.

Aboriginal Art 1 – Created by Don Cheke

Sometime later I decided to add the flutes to the image above. I loved how that looked, and it became the feature image.

Aboriginal Art 2 – Created by Don Cheke

To wrap up, let me repeat that I think my culture is the people of the world and that my writing and my art speak to that. I know there are cultural differences world-wide, but I think when push comes to shove, we all have an inner core that strives for the same things – that is wanting a sense of self, a way to define who we are, and a way to attain the things in life that make us happy.

What do you think?

Donald B. Cheke – July 28, 2025