Tysonnae Aiguier-Bolling

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TRIBAL AFFILIATION: Wampanoag

MEDIUM: Jewelry

ARTIST STATEMENT
I think about my work as bringing 12,000 + years of Wampanoag traditions into unique contemporary fashion for all to enjoy.

My surroundings and the people in my community inspire my work. I frequently use natural mediums like deer (antler/bone, hair, and leather), plant fibers, wampum, and other shell jewelry, in addition to glass beads, paints, and metals. Each piece is one of a kind and handmade with the love and skill inherited from my ancestors, teachers, and the land.

 

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Cheryl Arviso

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TRIBAL AFFILIATION: Navajo

MEDIUM: Jewelry

BIOGRAPHY
Cheryl Arviso is a Navajo (Diné) artist from Northwestern New Mexico. She spent her childhood between her home near the San Juan River and her grandparent’s homes in Nageezi, New Mexico and Huerfano, New Mexico (Blanco Canyon Area).

At a very young age, Cheryl was introduced to the world of silversmithing by her parents J.P. Arviso and Lorraine Hesuse. She was born into the art form, and began an apprenticeship under her parents that lasted until the early 1990’s (a story in itself and maybe, just maybe, she might tell you!)

During the early 1980’s, she began her participation in the Santa Fe Indian Market with her mother. This began a tradition that lasted for over 30 years. In the same time period Cheryl also presented her art at the Heard Museum Guild Indian Fair & Market in Phoenix, Arizona, the Eiteljorg Indian Market and Festival in Indianapolis, Indiana, and a one-time visit to the Autry Museum of the American West’s American Indian Arts Marketplace in Los Angeles, California.

Cheryl’s style is influenced by all things that she is exposed to on a daily basis. You’ll find Navajo rug designs, inspired by the time spent with her grandmothers as they wove their beautiful rugs. Another design might have some filigree techniques (leaves, raindrops, flowers, and vines) with colorful natural stones and shells, influenced by the wonderful ever-changing landscapes in Santa Fe and the surrounding areas.In almost every piece there is a symbol representing water. This comes from her time growing up near Tótah (Three Rivers) and spending so much time near water.

Much of the art Cheryl creates are unique, one one-of-a-kind pieces that often express her environment. At times there are a few designs she will make more than just one, but they will still be handmade therefore still one-of-a-kind pieces.

 
 
 

Geri Arviso

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TRIBAL AFFILIATION: Navajo

MEDIUM: Jewelry

ARTIST STATEMENT
My name is Geraldine "Geri" Arviso, I was born on the Navajo Reservation near Bloomfield, NM on May 20, 1968. I was raised in the same area for the majority of my childhood. When I was a child, my parents both desired for me to learn the family business. I had absolutely no interest. Isn't it peculiar that parents really do know best?

At age 25, I was taught the fine art of metal-smithing by my younger sister, Cheryl Arviso. Thank God, He gave her such patience. I loved the designing and creative process. In March 1999, I picked up my beads, started to create beautiful beaded jewelry. September 2010, my mother was diagnosed with early onset Alzhiemer's, I enrolled her and myself in jewelry making courses with Poeh Museum. I was blessed to have Fritz Casuse as my instructor for several years. It was wonderful to learn overlay, tufa casting and embracing the creative process of designing my own jewelry without influence from any ne else.

After leaving my 23 year career with the United States Postal Service, I am pursuing my dream of creating art as my main occupation. Since July 2023, I have had the honor of being a part of the following shows: SouthWest Art Market at Millicent Rogers Museum in Taos, NM, Free Indian Market in Santa Fe, NM and Haskell Indian PowWow and Indian Market in Lawrence, KS. I have my work at the Home and Away Gallery in Maine and Dineh & Company in Santa Fe, NM.

 
 
 

JP Arviso

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TRIBAL AFFILIATION: Navajo Nation

MEDIUM: Jewelry

BIOGRAPHY
Born on the Navajo Reservation and raised as a Diné man, JP is of the Red Ochre on the Cheeks clan and born for the Water Flows Together clan. Silversmithing began as a hobby when he was working. During holidays and birthdays, his designs were made for close family and friends. From time to time, he also completed custom commission work. In August of 2017, JP made the transition to silver smithing and gold smithing full-time upon his retirement. The underlying concept for his designs is for the finished work to be practical, wearable and resilient for continual use. All of the gemstones (turquoise, coral, jasper, shell, etc.) used are natural and untreated to follow traditional Navajo jewelry. Every ring, bracelet, necklace, earring, bolo tie, pendant, belt, bridle, etc. is a distinct, individual handcrafted item. Beginning with raw materials, JP handpicks high-grade silver, gold, gemstones, precious stones, and leather for his designs. Long-established and more conventional techniques he uses include traditional stamping, filing, overlaying, tufa casting, sand casting, and dimensional engraved overlaying. Growing up on a ranch, JP has a been a cowboy his whole life. He traveled to rodeos for bareback riding, bull riding, steer wrestling and team roping. Naturally, his life is reflected in his work and influences his artistic direction by including contemporary Western bright cut engraving and leather braiding complimented with Bulino style concho sets. Learning to set precious stones (garnets, emeralds, rubies, etc.) are his most recent efforts to broaden his knowledge of silver smithing and gold smithing. All of JP's works, designs and pieces are treasures that are timeless timepieces made to wear for the rest of your life.

 

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Philbert Begay

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TRIBAL AFFILIATION: Navajo

MEDIUM: Jewelry

BIOGRAPHY
Philbert Begay is a member of Kinlichinii Natoh Dine’, the Redhouse Tobacco Clan, and he is the son of noted Navajo silversmith Richard Begay. His father was his biggest influence, and he also has been influenced by his uncle Victor Beck, uncle Patrick Taylor and James Little. Philbert learned silver work from his father by polishing and finishing pieces for him as a young boy. He started making jewelry when he was 14 years old, and went out on his own at age 21.

After attending the Colorado Institute of Art, Philbert began working with his father part-time and is now a full-time silversmith specializing in sterling silver and 14K gold contemporary Navajo jewelry.

Read full bio here >

 

 

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Josh Carter

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TRIBAL AFFILIATION: Narragansett/Pequot

MEDIUM: Jewelry

ARTIST STATEMENT
I am the son of Joseph Carter III and Nancy Bonin. I am of Pequot, Narragansett, African American and Irish decent. I am happily married to my best friend, we have four beautiful amazing children and recently received the precious gift of our first granddaughter. I am currently the Executive Director of our Tribal community’s very own Mashantucket Pequot Museum & Research Center. I am head over heels in love with the traditional art of wampum. I really enjoy the conversations around its traditional use, the Pequot’s relationship to the ocean and to address the perpetuated fallacy that wampum traditionally was money. I was fortunate enough to establish a strong relationship with the most talented wampum maker known in modern times, Allen Hazard (Narragansett). I am forever indebted to him for his gifts of wisdom and patience that transcends wampum making. I will continue to honor my ancestors, Allen and my family by teaching all those in my community who would like to learn. I feel blessed to carry on this most beautiful ancient tradition.

 
 
 

Gal Frey

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry - Ash

ARTIST STATEMENT
Gal Frey is a traditional Passamaquoddy basketmaker, beadworker, jewelry worker and quillworker well known nationally for her expertise in the ash and sweetgrass basket traditions. She also makes earrings with porcupine quills and glass beads, and designs beaded stone pendants on necklaces. Gal learned the art of quillworking from Joan Dana and the art of weaving baskets from Sylvia Gabriel and other family members. Her beadwork is self-taught, and she gathers the ash and sweetgrass herself and finds the quills on the roadside. Each piece is designed individually. Gal, who was raised at Pleasant Point,  is an intergenerational teacher (basketry, regalia), committed to the continuity of Passamaquoddy culture. Her mother, father and grandmother also made baskets, as do her sons, Jeremy and Gabriel. Gal is a licensed Massage Therapist employed with Indian Health Services, Pleasant Point and Indian Township, as well as through her art Gallery and Spa. Her role as an elder and grandmother furthers her understanding of intergenerational processes in cultural learning. She is a member of the “Sipayik Cultural Committee”, a team of individuals who are committed to volunteering their time and energy at the Waponahki Museum to keep cultural activities alive in their community.

 
 
 

Sierra Henries

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TRIBAL AFFILIATION: Chaubunagungamaug Band of Nipmuck

MEDIUM: Woodwork, Jewelry

ARTIST STATEMENT
I create birch bark art featuring pyrography (woodburned) designs. My process includes gathering bark from the trees, cutting the bark to size, free-hand sketching my design, oftentimes cutting out the design, and then finally free-hand burning the design to complete the piece. Occasionally I will do my pyrography work on other natural mediums as well.

 

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Priscilla Nieto

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TRIBAL AFFILIATION: Kewa Pueblo

MEDIUM: Jewelry

BIOGRAPHY
Santo Domingo Pueblo artist Priscilla Nieto is renowned for her award-winning heishi necklaces. Using traditional methods, painstakingly hand grinding and drilling each individual bead. Timeless one of kind pieces - all hand made jewelry.

 

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J.J. Otero

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TRIBAL AFFILIATION: Navajo

MEDIUM: Diverse Arts, Jewelry

BIOGRAPHY
JJ worked in IT for 25 years before moving into the art world full-time. Outside of a short stint painting, with some success, in 2010, JJ focused diligently on his musical craft, a true passion. JJ’s life was shaken up, and in 2016, he found himself moving back to the Navajo reservation, searching for a means to make a living. During this time of resetting, chores around the family home required JJ to be resourceful with materials such as wood, metal, and tools. His father, Chester, worked on a rickety table, barely holding up his chainsaws and chain sharpening equipment. JJ set out to find old 2x4’s and some screws and cobbled together a work bench and seat that his dad still uses today. More than a year and various woodworking projects later, his sister Cleo asked if he could make a cradleboard for her coming grandchild. That first cradleboard was the beginning of JJ’s career in the arts. JJ’s philosophy guides all things in his life: This moment is perfect and there’s nothing lacking. With this deep abiding fire, JJ continues to admire the texture and beauty of wood grain and continues to be amazed by the smell of freshly sawn wood. In addition, JJ’s unique stamping and texturing styles make his silverwork stand out, a newer passion in his ever-growing career!

Read full bio here >

 

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David Lonebear Sanipass

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TRIBAL AFFILIATION: Mi’kmaq

MEDIUM: Painting; Jewelry; Woodwork

ARTIST STATEMENT
My name is David Lonebear Sanipass, I grew up in northern Maine. I am from the Mi’kmaq Nation. I am a carver, make flutes, I paint and sketch. As an artist you want to be able to represent your art. I find the best way is to be able to talk about what it means. Some of what I do is so intricate you’re not really looking at what it means. The representation has been lost through interpretation. Part of the beauty isn't appreciated because it doesn’t speak to you. We have found a way for my art to speak with you, to come from my spirit, so it can be better appreciated and you will know more where I am coming from.

 

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Tol-pi-yiné Simbola

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TRIBAL AFFILIATION: Picuris Pueblo

MEDIUM: Jewelry

BIOGRAPHY

Tol-pi-yiné is a metalsmith from Picuris Pueblo, New Mexico but makes his creations from a small studio space in the heart of Downtown Santa Fe. 

"My mother taught me to make jewelry when I was 12 years old while she was homeschooling me and I was fortunate enough to create jewelry and participate in the prestigious SWAIA Indian Market in Santa Fe, NM for 7 years as a youth. Creating jewelry for the Indian Market became my art class and I was able to explore basic fabricating techniques. Years of experience and inspiration from the top of the line Native Artists I was surrounded by, made me even more creative and willing to experiment."

Tol-pi-yiné's newest creation "Dragon Skinn" is a stand-out contemporary line of jewelry that resembles the scales or 'skin' like texture of the mythical creature, created by meticulously and repeatedly stamping from both sides with a single diamond repoussé stamp. 

"When I think of typical “Native American” art, I think pottery, paintings of plains and horses, sculpture, basketry, sacred things with natural color, and certain geometrical shapes. Sterling silver is not always one of these - especially in the hands of someone like myself. Growing up traditional but also having influence of the modern world has given me a different perspective on designs as a jeweler. Even though I keep a certain aesthetic, I like to try new things to see what may come from my inspirations at the time. I don't center my work around turquoise or traditional influence - but rather let my stamp work and fabrication speak for themselves. Everything I create is one of a kind, and no two pieces are the same."

 

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Jannette Vanderhoop

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TRIBAL AFFILIATION: Aquinnah Wampanoag

MEDIUM: Diverse Arts, Jewelry

BIOGRAPHY
Jannette Vanderhoop is from the Aquinnah Wampanoag Tribe (Gay Head) on Martha’s Vineyard. Her modus operandi is to “educate people to respect nature through art” and so, she produces her work as a form of environmental expression. By utilizing random parts of the natural world, including found and reconstituted materials, there is no lack of inspiration or originality. She has mastered concepts of color, shape and design experimenting with materials and techniques.

Using locally sourced wampum shells from the rugged coastline of Martha’s Vineyard, Jannette’s organic, colorful jewelry is appreciated for both its eccentricity and it’s simplicity. Meant to inspire both the wearer and the viewer and connect them to the essence of the sea. Each colorful piece she makes is a wearable art object that nods to her culture and the history of her tribe while also celebrating her connection to the land.

 

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