As an artist and historian of Native American studies, I want to educate a broader audience with values of underrepresented indigenous peoples. Both published and unpublished historical actions victimizing indigenous people continue to ripple into present day societal valudes, unbeknown to the larger dominant culture. I have come to understand unfavorable ideals evolve over time and are never truly gone—the insistence that what happened in the past should stay in the past is foolish. Or, as said by Mark Twain, “History doesn’t repeat itself, but it does rhyme.”
The works included are a conceptualist approach to investigating familial, cultural, and institutional influences and their impact on collective presence. I want my work to exude an honesty of native peoples that has been overlooked in favor of subconscious or conscious profiling. Rather than see an Indian man sitting in his office, I want you to experience his humanists traits as a father and husband. Before successful educational goals and career endeavors of a working woman, I want you to look at how carefully that mother cradles her children.
I revisit successful imagery and rehash its visage in quick mediums to understand not only its multiple purposes but also explore its own fading memory. The historical awareness of inanimate objects lies in context of enlightened viewers that of which can be easily lost in time. What I see as a home full of cherished and painful memories can come across as a run-down building to others. My art is the culmination of overcoming misconceptions about family, the past, and identity to disclose a fearless factuality.
In grasping the concept of humanity, I have chosen to embrace my ethnocentricity to show you that, as humans, we rhyme with each other regardless of nationality. I am too American to be native, yet I am too native to be American. Rather than fight this tension I choose to be inspired by the situation that I have been dealt in this First World melting pot.