Born in Shaktoolik, Alaska, Levi Tetpon learned to carve under the guidance of his father, Eric Tetpon Sr., before settling in Anchorage, where he continues to work. His early sculptures in soapstone allowed him to explore form and technique, refining his skill before turning to the intricate medium of marine i vory.

In this work, Tetpon transforms the hunting scene into something deeply expressive, a vision of balance between hunter and hunted. Rather than depicting dominance or defeat, he presents an intimate connection. The figures merge into one another, their flowing shapes suggesting motion, spirit, and shared existence. The harpoon arcs from the hunter’s hand to the walrus’s snout in a graceful sweep that binds them together. Two human faces emerge within the walrus’s body, their presence reinforcing the idea that both man and animal are bound by survival and respect.

Tetpon’s reverence for his subject is felt in every detail. The smooth baleen base gleams like wet stone, anchoring the composition with natural strength. Tiny inlays of baleen accent the labrets, faces, and whiskers, each mark deliberate and delicate. Every polished surface, every careful incision speaks to the artist’s precision and purpose. The hunter and walrus are not opposing forces but intertwined lives, their shared essence carved into being with patience, grace, and care.

References: A very similar work is reproduced on the cover of William W. Fitzhugh, et. al., Yua: Spirit of the Arctic: Highlights from the Thomas G. Fowler Collection, (San Francisco: Fine Arts Museums of San Francisco, 2020). It is also reproduced cat. 80, p. 157.