Kenzi Shiokava was a Brazilian-born sculptor of Japanese descent, best known for his unique assemblage sculptures that seamlessly blend elements of American culture through diverse means of craftsmanship. Born in São Paulo in 1942, Shiokava later moved to the United States, where he became a prominent figure in the Los Angeles art scene. His sculptural creations often feature a harmonious fusion of organic and industrial materials, combining wood, metal, and stone to convey balance and cultural synthesis. 

Inspired by his multicultural background, Shiokava's sculptures evoke a deep appreciation for the natural world while reflecting the influence of his work as a gardener. From small intricate pieces to large installations, his sculptures capture Los Angeles through the found materials he used, primarily sourced from the streets around his Compton studio and garden. This fusion of found objects, from dead plant materials like wood to discarded wires, revitalized unused elements of the world around him with a newfound utility and appreciation as part of a conglomerate vision. Shiokava exhibited in numerous solo and group shows in the Los Angeles area, such as Watts Tower and MoCA, and received the Mohn Career Achievement Award at the Hammer Museum in 2016. His legacy is evident in the physicality of his sculptures and his contributions to the broader intersectional identity, heritage, and self-expression of the Los Angeles art scene. 

These totem poles showcase Shiokava's woodworking skill and embody a spiritual and contemplative dimension, particularly in those named after 'Kachinas.' In Southwestern Native American cultures, Kachinas are divine spirits that interact with humans, thus making the select totem poles named after them a purposeful cross-cultural redundancy to highlight their overarching spiritual theme. Through its naturalistic edge, these totems exude an ethereal atmosphere where each carefully selected component contributes to the overall narrative, creating a harmonious dialogue between the organic and the artificial. The assemblage process becomes a metaphor for the amalgamation of diverse influences, reflecting his Brazilian-Japanese heritage in an Americanized context.