The carvings represent aglimpse into the history of George Lane Park (High River, AB) and Southern Alberta from precontact Indigenous history, culture, geography, pictographs and practices.

Two trees will be carved. The first, already completed, features depictions of local Indigenous symbols and cultural elements—pictographs, tipis, creation stories, buffalo jumps, porcupine hills, mountains, Highwood/Little Bow Rivers, Okotoks erratic and the Medicine Tree—arranged in ascending circles to the top.

The second tree will illustrate local history, from early explorer contact through settlement, using a visual timeline ascending the tree. It will include milestones such as Peter Fidler’s explorations, HBC traders, the NWMP, the railway, the founding of HR, local settlement, and the first school, churches, buildings, and bridge, as well as rodeo, farming, and ranching. Work on this tree will begin in 2024 and conclude in spring 2025.

Throughout the carving process of the first tree, four key elements were prioritized for visual reference: the Cottonwood tree itself, mimicking the surface of sandstone, interpreting images as they might appear on a lodge (tipi), and representing the tree as a pillar. Incorporating the tree’s natural elements, such as its growth patterns and knots, was essential to the design.

The cultural significance of the 100+ year-old Cottonwood tree, known as the “Tree of Life” to the Blackfoot and other Plains Nations, was a central focus. This tree symbolizes good water, as Cottonwoods only grow near reliable waterways. It holds great importance in the Big Camp (Sundance), where care is taken to select a Cottonwood for the center pole of the camp, a site of offerings and ceremonies held annually. Additionally, the Cottonwood plays a vital role in burial ceremonies; its large limbs are used to support the deceased until their remains return to nature.

The natural color of Cottonwood resembles that of sandstone, which is where traditional artworks like pictographs and petroglyphs—such as those at Writing-On-Stone—are found in the territory. These sites, often used as buffalo jumps, pounds, and ceremonial locations, are among the most culturally and geographically significant in the region.

During the finishing process, it was important to preserve the natural aesthetic by avoiding a completely smooth sanding of the carvings. Instead, a more organic finish was maintained, leaving rougher marks and shapes to mimic the texture of sandstone.

The tipi paintings and lodge setup always honour the land and the rising sun. Special care was taken to include specific images that align with the sun’s direction, important landmarks, and animal depictions placed in locations where they naturally inhabit. The layout of the images and the subtle shaping of the tree are intended to remind viewers of a tipi.

Pillars are structures that support various sizes and shapes. Symbolically, this tree represents a pillar of strength—not only for its cultural importance but also for its significance as an original occupant of the town, having started to grow as the settlement began over 100 years ago. From a distance, the carving is designed to resemble a pillar holding up the sky. To some, it may also evoke the image of a totem pole (a form of famous Coastal Indigenous art), which similarly serves as a pillar of power.