NATIVE ART

Arizona Highways has a long and proud history of showcasing the art and artistry of the state's American Indians. This month, the tradition continues.

A Portfolio Edited by Kelly Vaughn

In n the May 1986 issue of this magazine, writer Lois Essary Jacka posited the following in an article titled Ancient Traditions, New Horizons: Today's Native American artists are builders of bridges. In their memories lie the traditions of their ancestors; in their visions rise the horizons of the future. Many start with time-honored art forms, and on these they impose their own interpretations. Others have become so innovative that their work may seem to have nothing 'Indian' about it at all. Yet no matter how contemporary their designs or revolutionary their colors, the influence of cultural heritage is never far below the surface.

Now, more than 35 years later, a new generation of artists is carrying on those same traditions - and, of course, incorporating its own modern aesthetic. In the following pages, you'll meet four artists who are working to share the history and importance of their cultures through works large and small.

Duane Koyawena painted Itaa qaatsiy oo'qalyani, or Having the Strength to Persevere Our Lives, in response to "the profound impact COVID-19 has had on the world, including the Hopi people," he says. "This work is an expression of our resilience."

DUANE KOYAWENA

“I am a self-taught artist who has been creating art since childhood," Duane Koyawena says. “My art is highly influenced by my father, Lloyd Koyawena, who was an artist in his own right. Drawing from my Hopi culture, my pieces convey the importance of hope and positivity. My life experiences have shaped my perspective and continue to impact the works I create. Today, I complement my artwork with the desire to help others.” Indeed, the Flagstaff-based artist infuses his work with his traditional Hopi upbringing. Vibrant butterflies and kachinas dance across his canvas. He even created his own version of Star Wars' R2-D2 robot in celebration of the Navajo translation of Episode IV: A New Hope. It's adorned with designs reminiscent of Hopi pottery.

Having put struggles with alcohol addiction behind him, Koyawena is now a mental health technician at Flagstaff Medical Center, as well as a father and motivational speaker. In addition to his work being displayed at the medical center, he's had recent exhibitions at Flagstaff's Museum of Northern Arizona and the Center of Southwest Studies at Fort Lewis College in Durango, Colorado. At the latter, he was the co-curator — with Navajo artist Landis Bahe— of PIVOT, which featured more than 110 skateboard decks created by Indigenous artists, including Douglas Miles (see All in a Day's Work, page 46). More of Koyawena's work can be found at dkoyawenaarts.com.

THOMAS “BREEZE” MARCUS

Muralist, painter and digital artist Thomas “Breeze” Marcus was born and raised on the Salt River Pima-Maricopa Indian Community, east of Scottsdale. And although his artistic foundation is rooted in graffiti - he began painting around Phoenix as an adolescent - his work has since evolved to incorporate bold, graphic imagery that reflects his Tohono and Akimel O'odham heritage.

Marcus uses his art as a means of educating the public about issues facing our society, including militarization along the U.S.-Mexico border, which has affected Tohono O'odham lands. "One of the important parts of that [Akimel and Tohono O'odham] history for me is being inspired by a lot of that older art, but also my own experience as a graffiti artist or graffiti writer Here in Phoenix,” Marcus told viewers of an online presentation to the Arizona Historical Society in early 2021. “A lot of my inspiration comes from typography and the background, and just the intensity of being involved in that medium and that subculture that I think a lot of newer artists, new to public art and mural art, may not necessarily know.... It was pretty rough back in the day, and it took a toll on a lot of us that went through creating unsanctioned works and basically risking your life, your freedom, for a lot of different personal reasons and just wanting to be heard.” Today, Marcus' voice is heard in murals across the Valley, as well as in an exhibition at the Phoenix Airport Museum at Sky Harbor International Airport. More of Marcus' work is on Instagram at instagram.com/breezelphx.

MARIO MARTINEZ

Born in Arizona in 1953, Mario Martinez grew up in Scottsdale's Penjamo Village, one of several Pascua Yaqui settlements established in Arizona in the 20th century. Like many who lived in the village, Martinez is a descendant of Yaqui families who were driven from Sonora, Mexico, by the Mexican military in the late 1800s. It's a history that is revealed, both spiritually and literally, in his work.

“My people always knew that we came from the universe in particular the Milky Way galaxy,” Martinez says in his artist's statement. “The sun was our father, and science knows that most of the elements in the stars are in our bodies. That knowledge helped form our original spiritual knowing. We knew that all earthly physical-ness has the same vibrational structure.

In short, ancient Yaqui spirituality recognized the supernatural makeup of the land and all that exists. I believe I loved abstraction from the beginning because of my heritage.” Indeed, Martinez’s paintings are rooted in Western modernist abstract tradition and marked by shapes that are bold, yet ethereal.

“In my paintings, drawings, prints and public works, the plastic qualities are of great importance,” he says. “In other words, the manipulation of materials over time is primary. That process is at the visual core of my vision. Yaqui Indian spiritual [and] supernatural cultural concepts are the inner content of my work.” Martinez now lives in New York, and his work is exhibited through Garth Greenan Gallery and on his website, mmartinezpainting.com.

SHERYL SUSUNKEWA

From an early age, artist Sheryl Susunkewa knew her home was filled with art, language, culture and religion. A member of the Hopi Tribe from the village of Sipaulovi, Susunkewa was raised in Phoenix by renowned artists Manfred and Norma Susunkewa. Arizona State University awarded her a scholarship, and in 1996, she graduated with a bachelor's degree in fine arts with an emphasis in painting.

“Being in a family of talented artists has taught me to learn and to know how important our Hopi heritage is,” says Susunkewa, whose name translates to “beautiful” in the Hopi language. “I wish to continue the tradition which was left behind, pass it down to the next generation and inspire an upcoming artist. Behind each artwork I create, there is a story whether fromparents, relatives or inspired by them. In fact, my father, Manfred Susunkewa, says, 'Make your paints sing.' Susunkewa's work has been exhibited at the Pueblo Grande Museum Indian Market and the Heard Museum Guild Indian Fair and Market in Phoenix, as well as at gatherings and markets in Litchfield Park, Prescott and Santa Fe.

"My wish is to continue educating the world about the Hopi culture through elements, symbolism and spirituality," Susunkewa says. "The stories told by my parents about Hopi heritage inspire me to paint a story that I can share to the world."

For more information about Susunkewa's work, contact her at [email protected]. AH