Writing for KK's Class, What Matter's in Contemporary Art--My Missing chapter!

The most interesting art happening recently reclaims a contemporary, and humanistic portrait of the post-colonial indigenous psyche and people’s. Most importantly these artist’s who bridge together indigenous/tribal paradigms to the multi-cultural present of contemporary society, both psychologically and intellectually through the language of visual art. It is of the utmost importance for the Western or First world, who disseminate rapidly into an expanding global society to look in depth to what happened and what still happens to indigenous cultures during and after historical traumas in the wake of colonialism. In thinking of microcosms reflecting a macrocosm, it is good to learn from the people who are feeling the pain of disconnect from living so close to their ancestral homelands. Understanding the dilemmas of being a modern human are related to the loss of an indigenous paradigm, this intellectual form of art reverberates importance for the sake of preserving the unique remnants of ethnic and cultural identities in a modern context, before the monoculture of corporatism takes over completely, and is forgotten. One of the best ways to begin to look at these complicated cultural genocide’s, is to go to where beauty and creativity emerge, in the artwork created in the wake by post-colonial indigenous artists. I am primarily interested in these contemporary artists who engage a dialogue with the larger audience of contemporary art; either through their medium, or execution of creating dialogue specifically about this exact content. Some of the most vibrant and unique voices are coming from the indigenous descendants of the Pacific Rim, from Australia and New Zealand to the America’s. The majority of these artists are of mixed-blood peoples, coming from multi-cultural and ethnic backgrounds having a superb vernacular in both Western art making as well as their own native art traditions.

Artist Statement~as of 1/18/2013

This work navigates through “split-headedness,” which comes from being raised within an indigenous/tribal paradigm as well as having education in linear, Western concepts and society. This journey continues by sifting indigenous identity through a colonized being searching to decolonize, discovering ways to bridge understanding of what it is to exist in a state of two conflicting paradigms. The aim is for this work to reverberate the current spirit of resilience and healing within my community with expressive mark making and vibrant colors. This exploration allows reclaiming misconceptions about how indigenous identity is depicted. My studio practice of painting and research leads to experimentation with indigenous symbols, depictions, and philosophy, creating an artistic space for these expressions to exist within the art-historically loaded realm of Western (a tradition of European and Modernist American) painting. Creating scarred, layered surfaces with palette knife painting and scraping, bringing forth emerging and disappearing figures with squeegees, I create emotive landscapes that bridge between literal and abstract, searching for where my identity belongs. Following an oil-paint bar line transverse ancestral maps leads one through these plains of generational trauma, nostalgia, histories and stories. By using a Euro-centric historically packed medium, oil painting, the dichotomy of understanding contemporary indigenous people hoods struggle to relate, connect, and live in a society created to destroy them is ambiguously revealed. By excavating complicated and ugly psychological depths, beauty is unveiled through re-creation, using marks that manifest qualities of present and lost ceremonies, bodies, language, song, and homelands.

Tobacco Tie Red String Frame

I have been thinking a lot about how to 'finish' my paintings, in particular the large oil painting I've been working on through out this first term. I ended up choosing to hand sew the edges of my painting with red, 'tobacco ties' string and free hang the piece so the edges hang and lift off the wall. This red string has a very specific meaning to me, it is the type of string I've grown up using at ceremony to tie together tobacco tie prayers, which are used in sweatlodge and other ceremonies. Through hand sewing these edges it adds an element of labor and hand sewing clothes, garments, and the dolls I've been making recently.

Monotype Workshop at Crow's Shadow

Had a great Saturday making monotype prints at Crow's Shadow institute of the arts on the Umatilla Rez in Eastern Oregon. Got to work with and learn from Frank Janzen the master printer out there, trained from Tamarind and has worked with lot's of great artists. It was a crazy day! Shirod Younker and Kaliko picked me up at 4:26 am in the dark and rain and then we went the TA truck stop off 84 to wait for Toma, who was late!! Once we all made it in the car and got some truck stop coffee (tea for me) and ate some donuts, we were off to the Rez! Making it at 9 am just in time to view the incredible artwork up, watching a demo from Frank, and then diving in to a full on day of printmaking! :) It felt good to be indigenous, with my peers, out in indian country, making art....

Mending our Split-Head's

I am reading excerpts from the book "Original Instructions: Indigenous Teachings for a Sustainable Future" which is a collection of works and articles with contributions from Melissa K Nelson, John Mohawk, Winona LaDuke, John Trudell, and others. In thinking about what to share as readings for my first critique next week I have decided on sharing the writing (Chapter 30, pages 288-297) "Mending the Split-Head Society with Trickster Consciousness" by Melissa K. Nelson as well as the poem by Ryan Red Corn "Bad Indians" (not related to this book at all). I am most drawn to Nelson's excerpt because she is writing about why and how Indigenous Peoples are restoring their Original Instructions in a modern context, as well as rethinking the dominant paradigm that is causing ecological and spiritual damage. She also goes into depth about the indigenous efforts of recovery, resistance, and survivance after colonial efforts at removal, relocation, assimilation, and extermination by different European, then U.S. powers. What I am gleaning from this excerpt in terms of my thought processes preceding my studio work is the ideas of coyote the 'trickster' and her discussion about 'Split-Head society.' I appreciate her description about 'trickster' consciousness and explaining the role of the trickster, coyote, which represents diverse points of view. Nelson explains: "The Trickster, the coyote, as an archetype, as a person, as a cultural hero in our oral traditions and stories, is a teacher and reminder of plurality, diversity, paradox, humor, surprise, and humility. Trickster forces us to retain an understanding of all sides of a story by revealing them to be coexisting parts of one greater whole- interconnected and indistinguishable." The last poignant aspect of this article in relation to thinking about where I come from culturally and psychologically, in entering my mental platform of jumping off to the artistic practice and studio work is the idea of Split-Head Society. Nelson writes: "Chiskasaw law expert James Sakej Henderson and others call this group the 'Split-Head Society,' in describing those who were taken to boarding school and assimilated into Eurocentric ways. He says they have retained their aboriginal souls but have been colonized with Eurocentric heads. In many ways, most of us modern mixed-blood native people are members of this Split head Society." These ideas, histories, and psychology is my background and where my personal paradigm of thought is coming from, which in turn is informing my painting and artistic practice. I am most interested in using painting and art making as a healing and informing process to understand myself, my family, tribe, and urban native communities context in a modern American society. I am focused on ways to decolonize, revitalize cultural restoration and spiritual renewal through my studio/artistic practice. I am inspired and moved by her writing, in the end of the excerpt Nelson writes: "Through the beauty, depth, and power of this ancient Salt Song cycle, the Southern Paiute and those touched by the project are experiencing a 'trickster shift.' We are transforming the tragedy of the boarding school experience into one of empowerment and intergenerational healing. We are changing poison into medicine, mending our split-heads, and recognizing our wholeness."

PSU MFA Contemporary Art Practices Program

September 24, 2012, I was accepted into the PSU MFA in Contemporary Art Practices degree program. I just finished my first day of class and moved my entire studio into the Art Building, my new home for two years.