Unearthing Justice Through Abstract Narratives of the American West

Over the past decade, I've embarked on an artistic pilgrimage that bridges the past with the present. My journey with the ícaro: Medicine Songs project has led me to North America's often overlooked and forgotten realms. Travelling vast distances in solitude, devoid of institutional backing, my brushes and paints have transformed into instruments of memory, resurrecting tales of battles, school shootings, lynchings, and the haunting chains of enslavement. This voyage transcends mere recollection; it is a quest to fathom histories that have indelibly scarred the land and its inhabitants' collective psyche. Each brushstroke on my canvas serves as a meditation and a reflection, breathing life into tales that have long been eclipsed or forgotten.

The vast expanse of the American West has been a perennial source of inspiration for countless artists. Traditional Western art, notably by figures such as Maxfield Parrish and Thomas Moran, offers a romanticised, often reductionist, view of this magnificent region. Such depictions, especially those by Moran, played a pivotal role in propelling the ideals of 'Manifest Destiny', casting the West as a majestic, wild realm waiting for the touch of "civilisation". While aesthetically captivating, these perspectives often eclipse the nuanced tales of the West, particularly those of its Indigenous communities. As a counterpoint to this dominant narrative, abstraction emerges as a profound artistic voice. Visionaries like Agnes Martin, whose tranquil grids resonate with the vastness of New Mexico, Beatrice Mandelman, with her infusion of Southwestern light and native motifs, and Georgia O’Keeffe’s minimalist ruminations, have reshaped the artistic lens through which we view the West. Their innovative approaches carve a path for contemporary artists like myself to traverse.

The Pueblos of New Mexico, with their ancient edifices, narrate stories of age-old traditions and civilisations. The mesa-top Hopi villages of Arizona, majestically silhouetted against the horizon, are emblematic of resilience and the enduring spirit of their inhabitants. They stand not only as a testament to living and evolving cultures, amplified by contemporary Native American artists such as Jeffrey Gibson and Nani Chacon but also as a reminder of the defensive reasons underpinning their elevated constructions. As I delve into this rich tapestry of cultures and histories, I am reminded of myriad lives relegated to historical oblivion. This connection is heightened by my own diasporic Asian and Pasifika heritage. Some of my Pasifika forebears crafted unique navigational "stick charts" depicting oceanic currents and inter-island relationships using sticks and shells. Unlike conventional Western maps, these were mnemonic tools assisting navigators in recalling ocean patterns and island locations. In a parallel vein, I employ abstract painting as a compass, guiding me through the intricate labyrinths of history, human behaviour, and intercultural connections.

In these landscapes, my abstract paintings seamlessly weave the past with the present, the tactile with the ethereal. While my art might not explicitly illustrate these histories, the emotional gravitas, vigour, and soul are encapsulated through vibrant hues, shapes, and textures—employing clays, minerals, and charcoal sourced from each site to form the essence of my paints.

Early morning, Zia Pueblo (Keresan: Ts’íiy’ama, which means “sun symbol”), 46 x 93 in, clay, tumbleweed char, acrylic on linen, 2023.

Taos Pueblo (Tiwa: Tuah-tah, which means “our village”), New Mexico, 46 x 93 in, clay, tumbleweed char, and acrylic on linen, 2023.

Pojoaque Pueblo (Po’su wae geh translates to “water gathering place”). 44 x 88 in, clay, tumbleweed charcoal, acrylic paste, and spray on linen, 2023.

Jemez (He-mish) Pueblo, New Mexico, 46 x 93 in, clay and acrylic on linen, 2023

San Ildefonso Pueblo (Tewa: Po-woh-ge-oweenge, which means "where the water cuts through”), New Mexico, 44 x 88 in, clay and acrylic on linen, 2023

Isleta Pueblo (Tiwa: Shiewhibak, meaning "knife blade"), New Mexico. 46 x 93 in, clay, tumbleweed char, acrylic on linen, 2023.

Reeds. Village of Mesita in Laguna Pueblo, New Mexico, 44 x 88 in, clay and acrylic on linen, 2023.