Category: Collaboration

LAND BACK (2023)

(2023) Mural Indiginous resistance

 

The landscape of art in the northwest is complicated, and all that complication sits on the truth that this land is stolen. I am an adopted killer whale, with my Tlingit family we create to heal, we create together to teach each other, we sing and dance to heal our traditions, we connect with our ancestors through this practice. I am finding new life in learning through this, I am reckoning with my white self as I have been adopted and welcomed into indigenous culture. I am living a conflict, and it’s quite wild just as it should be.

 

Artville Residency (2022)

(2022) Artville Residency, CT Walk, Library Mural

 

I returned to Leadville again this year to spend September at Artville. This time my intention was to do some good solid thinking, and walk the Colorado Trail as much as could be accomplished given how my body coped with the task. Walking from Copper Mountain to Cottonwood Pass, approximately 90 miles, over the course of nine days, with a total ascent of 16,700 ft, and descent of 13,800 ft, was as much as I could handle. I was accompanied and guided by my friend and experienced through hiker Groucho, and the dog Bo Jackson. Along the walk there were many moments of peace, beauty, extremes, time in a geologic sense, stars, and the ache of my IT bands which I learned I need to stretch out quite a lot more if I’m going to go on longer walks like this in the future. I have known for some time that I very much love walking, and I am slowly learning that I very much like walking long trails in nature. As always the tiny community of Leadville is a joy in its weird beauty, the more time I spend there the more I feel a part of the community, and I’m thankful for this.

 

 

In between walking on the CT and resting, I had the opportunity to paint a mural at the Leadville Library with my walking companion Groucho. We chose an apt quote from Groucho Marx, “Outside of a dog a book is man’s best friend, inside of a dog it’s too dark to read”, it’s always an honor to leave art works in locations far from one’s usual stomping grounds.

 

I always try to do a few drawings of the places I find myself at, here is a drawing of the main street in Leadville.

Black Crane (2022)

 

(2022) Black Crane Treehouse

One of my main projects at the start of 2022 was helping the Rockland crew build the Black Crane Treehouse. I joined the build just after the subfloor had been established, staying on the build until July, just as final touches were being worked out on the interior finish. This was my second build where I got to take part in the construction from the framing and raising of the walls onward. Since 2018 I have been giving a portion of my time to learning building protocol, permitting, and inspections. This treehouse really brought together all the elements of the build, this is knowledge that I can apply in so many ways as life presents all sorts of building opportunities in the future. Check out Rockland Woods for more info about the artist residencies held twice yearly. Here is a selection of photos following the build process from start to finish.

           

State of emergence (2021) film

(2021) film 

STATE OF EMERGENCE VIDEO
This is a short film created by Austin Wilson, produced with Overall Creative during the summer of 2020. Features John Richards, Kathleen Warren and the creation of murals by Barry Johnson and Ezra Dickinson. It is a look at the thoughts and messages behind the works, during the summer when everything was boarded up and artists began to paint in the streets.
Additionally works shown by Amaris O. Hamer, Vivid Matter Collective, Paulina Cholewinski, Crystal Barbre, Casey Weldon, Zach Rockstad, Anne Siems, Baso Fibonacci, Zach Takasawa, Robert Tardiff, Connor McPherson, Evann Strathern, Billie Avery. Music by the Polyrhythmics.

 

 

Photos Austin Wilson

Kaaseiyi (2021)

(2021) woodwork canoe

 

This canoe is named Kaaseiyi, meaning voice of man. The canoe is named after Nahaan’s father Roger Alexander. Roger was Kaigani Haida, from double headed eagle, frog, beaver clan. From Hydaburg AK. Traditionally in native culture mostly men build canoes, and traditionally in western culture boats are given the gender of female. With Kaaseiyi, Nahaan intentionally separates this act of love and remembrance from western practise and expectations, and firmly sets this gift as a gift of not only memory but of tradition and cultural responsibility. A vessel for learning and growing family, through songs, protocol, and leadership.

 

I was asked by Nahaan if I could help build Kaaseiyi after the cedar strips had been formed and set into their place to make the dugout canoe shape. We began by prepping for delivery to the fiberglasser. After fiberglass had been applied both inside and out, we sanded it down to a smooth state. We landed at our first generous work space offering at the Museum of Museums (MoM) in Seattle. While at MoM, we cut the rough shapes for the in and out wales, and the bow and stern top pieces. We steam bent the in and out wales and attached them. Then it was time to move to our next generous work space offering provided by Vermillion Art Gallery also in Seattle. While at Vermillion, we steam bent the rails that sit on top of the in and out wales, steam bent and attached the risers that the seats rest on, and we cut and fitted four seats. At this point we began to clean, shape and refine the overall body. 

 

Each work session would start with sage, and at the end of the work day, songs would be sung to Kaaseiyi. Our last step was painting, starting with primer, sanding, primer, sanding, and probably a little more primer once the surface was as smooth as we thought we could get it. Then we started adding color, and delineating shapes. The shape that the black makes on the outside is referencing the belly of the killer whale. Many more coats of marine grade paint, a little wax, and we were ready to have a naming ceremony and launch. 

 

On a perfectly beautiful overcast rainy Sunday afternoon at Golden Gardens, we formally named the canoe Kaaseiyi. A representative from the Duwamish Tribe attended and gave us permission to launch, have a safe journey, and come back again soon. We loaded up seven deep, and pushed off into the water, watching as the small crowd of attendees sang us songs and danced on the beach. The sea lions and eagles were circling and watching us as we pulled our way around the buoy and back to the beach.
 
What a gift to help my best friend build this boat, we both built this with no prior experience in building a canoe. We could not have done this without the guidance of master canoe builders, Wayne Price, Beau Wagner, Dale Bekkela, Joe Martin, Al Charles, and Stormy Hamar from up the coast to Canada and AK. The reverence for the craft of building a vessel that holds human life in the water is a profound learning lesson. I’m thankful to have been given the chance to share in this truly amazing process.

NAMING CEREMONY

 

After the completion of building Kaaseiyi, a few months later we began the formline design covering the outside of Kaaseiyi. First Nahaan sketched out the design on the left side, then I copied the design to the right side. Then we spent time redrawing and refining the formline design. Helping hands started to add the colors, three coats of paint later Kaaseiyi had his decoration.

 

Stories (2020-present)

Stories from the Streets or Being Seen (working titles) (2020-present)

 

This is the seed project for what will become a much larger, interactive, citywide performance experience. To begin, I have been awarded funding from 4Culture to collect interviews from people living on the street experiencing homelessness. My aim is to find individuals who would like to talk with me about their experience living on the street. I have found myself gravitating to these folks for two reasons: 1) My mother lived on the street for a period of time after I began living on my own, and before she ultimately was committed to Western State hospital; and 2) I can’t help but see a clear correlation between out of control rental prices and the rapid increase in the homeless population in the northwest.

 

 

Through this funding I will compensate the individuals interviewed. I want to collect these interviews and geo tag the locations where the interviewees are living. In Seattle currently the people living on the street are routinely dislocated or swept from their established homes on the street, a practise that is both inhumane and, given that we are still in the grips of a worldwide pandemic, is all the more absurd an action to be taken against an already extremely vulnerable population. 
Once I have collected as many interviews as funding will allow for, I will create a website which houses all of these stories and cross references each one with a QR code that will be placed at the location of past residence for each individual I interview. This will create both a visual link to the inhabitants that occupied these street homes–prior to being displaced yet again–and determine a walking tour through Seattle that someone could follow to see these stories activated from one QR code to the next.
This first step will lay the groundwork for the larger piece. I will endeavor to fill in the path that is created from these stories with installation, both site specific and gallery. There will be sound that will accompany the viewer through this journey. There will be pre recorded performance that lives as a sort of ghost along this path. All this will come together to create a walking tour that can be entered at any point, at any time.

 

Wish you were here (2020)

(2020) Live stream performance. Art Martyrs Relief Society, Seattle WA.

 

Collaboration between myself and Dani Blackwell. Focusing in on the body, specifically the torso to show fleshy articulation until exhaustion, then the face to remember self, still thinking of flesh as Dani paints the face to look like a skeleton remembering the bones that are underneath providing the structure, then the self is released by throwing handfuls of flowers into the sky.

 

Body hands      Chest squish          Face paint

Foreign and Familiar (2019) film

(2019) video

 

Filmed for the Georgetown Super 8 Film Festival. Brad Curren and I came up with a loose story idea set in the defunct rail yards of Seattle’s Georgetown neighborhood. Sourcing my dinosaur mask as a way to look into abstract representation in hopes of finding further meaning in the story of the dinosaur mask. A small world is born of forgotten things left to collect dust.

 

Bring Back The Salmon (2019)

(2019) Commissioned public art mural, Art in Parks, Seattle WA.

 

Working together, Nahaan and I designed a native formline salmon, as a rain-activated, ground stencil. Working with the Office of Arts and Culture Art in Parks, we settled on Alki Beach Park as our project site. We used RainWorks to stencil a temporary non toxic clear coating which is only visible during Seattle’s rainy weather. The stencil design we created was roughly 4’ long and 2’ tall. This installation is meant to bring attention to the loss of native salmon in this region as a result of overfishing, dam’s blocking salmon runs and pollution. We possess the power to change the fate of the northwest salmon.
 

Core 14 (2019)

(2019) Improvised performance. Zebulon. Los Angeles CA

 

Asked to perform in Chantael Duke’s improvised performance score, movement artists were paired with musicians in different duets and other combinations and given a set amount of time to improvise together. Photography by Rebecca Green.