An Artist is a Shaman. An Artist interprets for the inanimate

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An Artist is a Shaman. An Artist interprets for the inanimate
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   An Artist is a Shaman. An Artist interprets for the inanimate. ‘The Great Went’   is an installation; ‘Manifest Destiny’   is a research installation. From trauma can come hope for amelioration. Some themes recurrent in my practice are trauma, remembrance/awareness, spirituality and science. 1  My works begin with in-depth research to acquire knowledge through different methods; my investigation leads me to and through my works. I use knowledge as a material to inform making. Research takes the form of artist’s readings/essays, artworks, academic texts/theses, philosophy, government   departmental reports, music and documentaries.  The works take diverse types of embodiment en route to installation. Serendipity and   sagacity play a role. I spatially allow the work to speak to me. I listen. How are these materials and objects speaking to me their wants? What does the object athirst for? I use concentration, consideration, analysis & a willingness to hearken to objects. I listen to my intuition and then I experiment with fighting it. I painstakingly physically experiment with the works in a pseudo-alchemical-like process until I reach momentary contentment with the work- Mine Own Awesome Moment of Satisfaction.  This investigation began with Plateau and Plains Native American Mythology, Wolf conservation and the biological evolution of the living organisms of central North  America. This progressed into political, social, moral and ecological considerations. 2  Bison for millennia were the driving ecological force in North America’s ecosystem. Between 1800 and 1890 the Bison population reduced from 50 million to 50.  The Gray Wolf population was completely exterminated ‘Manifest Destiny’   is an interdisciplinary response pertaining to research regarding the bonds between the Nez Percé and Oglala Sioux, 3  Bison and Gray Wolf, the conditions of/on that land now, in time past and primordial. In 1995 the Nez Percé repopulated the Gray Wolf back into North America by introducing 66 Gray Wolves into Idaho and Yellowstone National Park. In 2012 as a result of this programme Gray Wolves were taken off the Endangered Species List. In 1973 members of Oglala Sioux and AIM 4  on Pine Ridge Reservation, at Wounded Knee staged a Civil Rights protest and violent 71-day standoff with the FBI. Currently at Pine Ridge conditions are among the poorest in North America; a 1/3 of people don’t have access to clean drinking water, indoor plumbing or electricity.  The main theme of this work is despair/hope. Both works pay homage to the comic/solemn duality of authentic contemporary Native American art. ‘The Great Went’,  influenced by the writings of David Lynch and Jimmie Durham on meaning in art, is an indeterminate sculptural response to research cogitating the Nez Percé tenet that everything; every object, has a spirit. Nez Percé speak of a close connection with the land, flora and fauna, the animate and inanimate.  What has this landscape witnessed? Is it indifferent? 1  The area of America that my art often focus’s on is an epicentre for FBI connected trauma. 2  17,000 years ago humans entered America by crossing the ice from Europe. 6,000 years later the Bering land Bridge formed; humans, animals and plants dispersed from Siberia. When Europeans reentered  America in 1492 Native Americans numbered 15million, by 1890 there was a 98% reduction in population. 3  In 1877 Nez Perce fought 7 th  Calvary. In 1890 Sioux were massacred by 7 th  Calvary at Wounded Knee. 4  American Indian Movement- including Jimmie Durham.
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