Editor’s note: This is the eighth in a series focusing on the artists of the Suring area in honor of Suring’s centennial celebration.
Ardis Poquette’s talent is devoted to icon painting, also called icon writing. The art was developed in the fourth and fifth centuries by the Eastern Orthodox Church. The pictures tell Bible stories and change every season of the church calendar.
After retirement, Ardis and her husband, Dick, moved back to Suring. About 13 years ago, Ardis read about lessons being offered for icon writing, and her interest was piqued.
In brief, icons are painted on carefully chosen boards of birch and alder. The front of the icon is cut out to leave a raised frame so the artist can rest a hand on the border while painting. Six steps are necessary to prepare the surface, and it is necessary that after each step the work is thoroughly dried.
The pigments (paints) are combined with an equal volume of water and fresh egg yolk, mixed with a little vinegar for a preservative. The darker colors are painted first and then the lighter shades are painted. Drying between each color application is required.
The art is supported with an open studio each Monday in Cedarburg. In July each year, a retreat is held at St. Nazianz Monastery, which is run by the monks. The monastery opened in the early 1800s as a Utopian community. No meat or dairy is eaten by the monks and therefore not included in the meals served to those attending the retreat.
The art is seen mostly in churches and museums. Ardis shares her art with her family, friends and her church.
After Ardis graduated from high school, she moved to Minneapolis and began working at the Wooden Bird Factory as the only one in the decoy art department. Never having taken an art class or even shown an interest in drawing, Ardis started taking carving and painting classes.
She eventually carved and painted the prototypes that were reproduced in wood or resin of ducks, grouse and other wild fowl. About 15,000 wood items were carved and painted annually and distributed to organizations such as Ducks Unlimited and Grouse Unlimited or wildlife art catalogs. An original prototype would cost a minimum of $800.
A special assignment was to carve a 3-foot Pillsbury Doughboy out of solid mahogany, which is hard to work with and cracks easily. The tools used in the trade were grinders, chisels and mallets, plus a dust collector to keep the work area clean.
Ardis entered a red head duck in the Ocean City, Maryland, world champion wild carving competition and received a blue ribbon. Carving, wood burning and painting were used in the production of the entry.
She worked at the same business for 24 years and was the only one producing prototype carvings, even though she was the head of the department. Twenty to 30 people worked for Ardis reproducing the exact same image she developed.
Her advice to other potential artists is this: If you see something that interests you, whether it be painting, photography, music or another art form, do it.
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