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"Growing Stronger"

 

 

"Simon Joe Benally is Looking for a Rich Girlfriend"

"Remembering Brittany"

"She's Singing"

Sharing social, cultural and political experiences through art

For Melanie Yazzie, professor of art practices and head of printmaking in the Department of Art and Art History at �鶹��Ѱ�����Boulder, art and transformation are intrinsically connected.

That’s because she describes her art as being much more than just about creating aesthetically pleasing work—it’s a medium for sharing social, cultural and political experiences shaping the lives of native peoples in the U.S. and beyond. Her artwork—which takes the form of paintings, printmaking, sculptures and ceramics—is shaped by her personal experiences, as well as events and symbols from her Diné (Navajo) culture.

“I think when you’re really digging deep inside yourself and you make a work about something that’s really important, maybe it’s a certain theme you are trying to get across, when someone else sees it and gets it and is affected by it, that’s when you really see the power in artmaking,” she said. “It can transform you as the maker and also the person who sees it.”

Yazzie said her artwork follows the Diné dictum, “walk in beauty”—the idea of creating beauty and harmony. “There’s always positive and negative in the world, a sort of yin and yang. In Navajo culture, walking in beauty is really about walking a balanced path and trying to stay in a positive frame of mind,” she explained.

That doesn’t mean avoiding controversial subjects in her art, but she said it does color the approach she takes.

“When I was younger and in grad school, I made artwork that was very much in your face,” Yazzie said. “And in a sense, I was preaching to the choir. People who understood what I was saying would stay and listen, but what I realized with that work was that the people I wanted to reach dismissed (my work) as just, ‘she’s an angry woman or she’s an angry person of color.’”

Today, much of her work straddles the line between abstractionism and representationalism, with recurring motifs of abstracted animal and plant forms, as well as people—notably women—who are rendered in a spectrum of colors. Yazzie said casual gallery viewers have described some of her paintings and prints with words such as beautiful, whimsical and even silly.

For those willing to inquire, however, there are deeper meanings to many of her works, which can tackle such serious issues as the horrible treatment of Native Americans in boarding schools run by the U.S. government from the 1880s to 1920s or the unsolved murders of indigenous women today.

“In a sense, it’s like using honey to draw people in and then educating them,” Yazzie said of her artwork today. “It’s a much slower path, but I’ve seen it over the years making bigger strides than when I was shouting ‘injustice.’”

Particularly with her earlier works, but even in some cases today, Yazzie said some people who are “very rigid” in their views don’t appreciate her art. While it’s not always easy to hear, she credits her upbringing on the Navajo nation in northeastern Arizona with keeping her grounded and confident.

“Since a very young age I was brought up among Navajo people and around really strong women role models. That was my foundation,” she said. “So, when people were sometimes rude or racist, I would think back to my grandmother, who only spoke Navajo, and she would explain (their outlook) to me by saying people will sometimes act like bad children, and they don’t understand how to behave, so you have to show more patience with them and have a kind heart.”