“Paul” is the grandson of Juanita ”Holy-named Woman” Left-Hand. Juanita, a Native American woman was one of the last speakers of the dialect spoken by her tribe, the Assiniboine. Born around 1896, she witnessed the long battle to maintain traditional Indian life on the reservation as it was fought and lost. Juanita was overjoyed when historians came to ask her help in transcribing the dialect and the traditional Indian stories and their accompanying hand gestures. Those transcriptions, as well as her traditional beadwork designs and dolls now reside in the Smithsonian Institution Archive.
The text is the Indian Removal Act of 1830, which mandated all Indian Nations in the southern states to be relocated west of the Mississippi. This document was one of the opening salvos to the systematic dismantling of native cultures and that relocation resulted in what is known as the “Trail of Tears” which decimated the populations of the southern Indian Nations.
“Paul” 60″x 37″ Ink on panel
This is my brother Blaine. He died by a gun 15 years ago. He and I grew up shooting in youth clubs and his passion throughout his life was competitive target shooting.
The words are the NRA bylaws.
“Blaine” 60″ x 37″ Ink on panel
Mike was drafted into the army in 1968 during the Vietnam War. He served in the 1st Calvary as a helicopter gunner and was shot down by a rocket after 8 months.
The text Is The Gulf of Tonkin Resolution of 1964 which authorized the use of conventional military forces in Vietnam without a Declaration of War by Congress. 1968 was the year of the Tet Offensive which proved to be the turning point of U.S. involvement.
“Mike” Ink on panel 60″ x 37″
Angelin is the daughter of my friends who are first generation Mexican Immigrants.
The text is the Chinese Exclusion Act of 1882 which was the first federal law to ban an entire ethnic group from immigrating to the United States
“Angelin” Ink on panel 60″ x 37″
The dynamics of moving water reveal an unseen treasure
A wave breaks in the deep blue sea revealing prone figure that vanishes as quickly as it appears
I am getting closer to depicting the human form in my latest water series. I use hundreds of layers of subtle color to bury the light deep in the painting.
Another piece in an ongoing series interpreting water and its movement and interaction with air. I am playing with value and color. Specifically, the background is closer in value to the following layers depicting air. Most of the light and form are from the back.
A continuation of my exploration of water.
This is Justine, in the 1930’s her great grandmother moved her family from New York to the Watts neighborhood in south Los Angeles amid a backdrop of intense racial discrimination. One of the many faces this discrimination took was in the form of housing covenants, deed restrictions and extralegal measures that restricted minorities from living in many parts of Los Angeles. They were limited by covenants as well as a narrow access to financing known as redlining. These covenants were a part of southern California housing since the late nineteenth century and they were struck down partially in 1948 and then completely in 1953.
The words I chose to use in the formation of this portrait are sections from current residential deeds that still to this day contain the covenants restricting ownership to whites only, though they lack any legal standing. I also chose to use the words from the landmark Civil Rights Act of 1964.
Justine stands as a testament to her family’s strength and tenacity in the face of a system of governance that is biased against them.
“Justine” 60″x37″ Ink on panel