SAR Announces 2021-2022 Native Artist Fellows

Kanaka Maoli artist, Lehuauakea (they/them), is a traditional kapa (bark cloth) maker. Their practice also involves the creation of ‘ohe kāpala (carved patterned bamboo stamps), hybrid textiles, and installations. Lehuauakea has stated that through their work, they “aim to address complex subjects of mixed identity and cultural erasure, Indigenous resilience, and ecological relationships through a contemporary Hawaiian lens.” While at SAR, Lehuauakea will create a body of work on kapa (wauke bark) cloth, done using natural earth pigments and plant dyes.

Taos Pueblo member, Brandon Adriano Ortiz (he/his), is a micaceous potter as well as a formally trained architect. In describing his work, Ortiz explained, “To remain true to the humble nature of micaceous clay, my vessels have remained relatively simple in form allowing the material to speak for itself…The simple appearance of the clay cannot be simply interpreted as clay made hard by fire, its mere existence is based upon thousands of years of thriving innovation and deep relation to this place.” While at SAR, Ortiz will experiment with micaceous clay in a variety of ways and create a series of vessels to better understand the “uncontrollable forces which imprint carbon concentrated clouds on the walls of a pot during its firing.”

Assiniboine and Sioux artist, Juanita Growing Thunder Fogarty (she/her), is a second-generation traditional Northern plains artist who has spent much of her life learning from her mother, award-winning artist, Joyce Growing Thunder. Juanita Growing Thunder Fogarty creates traditional Northern plains clothing and accessories adorned with beadwork and porcupine quill embroidery. She also creates soft sculpture dolls that emulate historical Oceti Sakowin attire. Growing Thunder Fogarty’s words: “Being a beadworker and quillworker is who I am; I spend every day creating work that honors our traditions and culture in hopes that my work will help preserve future generations’ connection to their culture.” During her time at SAR, she will create two Assiniboine (Nakoda) women’s dresses. They will both be made in traditional styles but represent techniques that are rarely practiced today. She plans to pass the knowledge developed through this project on to her daughters, granddaughter, and other young Assiniboine artists.