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About

My practice asks how Indigenous knowledge systems, material traditions, and emerging digital
forms can be held together and interlock. Through this convergence, I seek to create spaces
that honor continuity while challenging narratives of disappearance, silence, or fragmentation.
My work engages both historical and virtual space to examine how reality is shaped through
ancestry, memory, and perception. Through painting and sculpture I explore how the physical
and the immaterial coexist as intertwined forms of physical, spiritual and virtual presence.
Stones, pigments, textiles, and digital interfaces become collaborators that carry knowledge,
memory, and contradiction. I also employ the use of the sticker, rendered image, and gestural
mark-making to create propositions in my work, allowing multiple visual languages to challenge
the stability of representation. By working across these spaces, I acknowledge the histories that
have shaped me while resisting the forms of erasure imposed on Mestizo and North American
Indigenous people and their cultural lineages.
Drawing from Indigenous abstraction, Northern Plains and Northern Mexican cosmologies, the
material intelligence held in survival-based practices, and Western representational image
making. I treat each material and image as holding ancestral and speculative potential. Soil,
stone, and fabric contain memory of their use, while digital fields of light echo spiritual forms of
apparition and transmission. These processes align with Gerald Vizenor’s philosophy of
Survivance and Gloria Anzaldúa’s concept of Nepantla, each of which describe states of
presence that exist in tension, transition, and transformation.
I am particularly interested in how virtual and ancestral spaces mirror one another. Both operate
as forms of reality that are not always visible yet remain deeply felt. A carved stone can function
like a screen, and a digital image can hold the weight of ceremony. Each work therefore can
become a site where competing understandings of the real converge.
CV
Education:
2026 Masters of Fine Art, Yale School of Art
2019 Bachelor of Fine Arts, University of South Dakota
Awards:
2017 Minnesota Historical Society Native American Museum Fellowship
2017 Plains Art Museum Arts Mentorship (Studied Stone Sculpture under Duane Goodwin) Bemidji MN.
2018 Health and Sciences Research Fellowship, Healing Through Art.
2019 Native American Essay Competition. USD, Native American Studies.
2018 Oscar Howe Curatorial Fellowship. Curating an exhibit on Oscar Howe
2019 Oscar Howe Curatorial Fellowship. Curating an exhibit on Oscar Howe
2019 John Thompson Artist Traveling Research. New York, NY.
2021 Sisseton Arts Council Artist In Residency, Sisseton, SD.
2022 Rural Regenerator Fellowship
Exhibitions:
2018 Life: Constructed. Ottertail County Museum, MN.
2018 A Seat At The Table. Coyote Gallery, SD (Solo)
2018 Contemporary Native Art Exhibit. Art Center. IL.
2019 Indigenous Art Exhibit. Pengree Private School, MA .
2020 Foresight: 20 Years of Mitakuye Owasin. All My Relations Art Gallery, Minneapolis, MN (Group)
2021-22 WakaÆž TaÆžka. Akta Lakota Museum. Chamberlain SD. (Group)
2022 Pseudonyms, Contemporary Indigenous Portraiture. Two Rivers Gallery, Minneapolis, MN. (Solo)
2022 Maka: Earth (Portraits Of Landscapes and Landscapes of People). Freeborns County Arts Initiative, Albert Lee, MN. (Solo)
2022 Conversations With Ancestors. Edge Center for the Arts, Big Fork, MN. (Solo)
2022 Wambdi Oyate; Buffalo Hide. National Eagle Center, Wabasha MN.
2023 Arts Advocates’, Plains Art Museum, Fargo ND. (Group)
2023 Sovereign Santa Fe, Farahnhight Gallery, Santa Fe, NM.
2023 Conveyance, NE Sculpture Gallery Factory, Minneapolis MN. (Group)
2024 Facing the Spirit: Austin Art Center. Austin MN. (Solo)
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