Inspired by identity and culture, my work originates from personal experiences. My art is a gateway into the political and racial status I was born into. The colonization I witness began with my Certificate of Indian Blood that states I am 4/4 Navajo. It continued with the withholding of information about the plight of Native peoples in secondary education, which excluded genocide, forced acculturation, and broken treaties. Today, I am confronted with Indian mascots, casinos (which I do not collect on), Navajo hipster panties, Johnny Depp as Tonto, and, now, McCain trying to convince the Navajo & Hopi Nations to relinquish Water Rights forever. My work is an introduction to the complexity of my status as an indigenous person in America.
The body of work I have created challenges the notion of Indian art by bridging the gap between
the comic book form and easel painting. It engages the general public into the story of Jonesy, a sheep living on the edge of the Navajo reservation trying to sell his wool. The humorous narrative brings to light the sustaining life of indigenous culture and its on-going struggle in an Eurocentric driven society. Utilizing sheep allows me to illustrate profound issues in Native America, often unconnected to society that communicates adaptation, deconstruction, and knowledge. Using symbolic gestures, I am asking the audience to reflect on our personal status and the judgments we make that either empower or oppress.
Jonathan Nelson, 2012