Beadwork and Jewelry Making
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Excerpt from torontobiennial.org/work/jeffrey-gibson-at-small-arms-ins...:
Jeffrey’s artworks make reference to various aesthetic and material histories rooted in Indigenous cultures of the Americas and in modern and contemporary subcultures. He is known for creating visually rich paintings and sculptures that mix material, saturated colour, pattern, image, and text to celebrate and amplify the voices of individuals and communities both past and present. This way of working, particularly with technically-demanding handwork, is seen through related work by Jeffrey included in the 2022 Biennial. In All You Took, I Gladly Gave (2013), SPEAK TO ME IN YOUR WAY SO I CAN HEAR YOU (2015), and ALL FOR ONE, ONE FOR ALL (2015), a wide range of found and repurposed objects—found tipi poles, driftwood, wool, canvas—collide with embellishments that reference Indigenous cultural production, from glass beadwork and nylon fringe to metal jingles and ceramics inspired by Mississippian head pots. ALL FOR ONE ONE FOR ALL, with its riotous assemblages of colour, textures and shapes, was the artist’s first work to explore the pre-Columbian ceramic heads but was also the genesis for his transformational garment pieces—the artist has shared that it was the first time he began to think about garment as sculpture.
© National Geographic Yourshot (Editors’ Favourite with Editors’ Note, July 2018). Story and assignment: “Not Just a Face”
Returning the photographer's gaze - sometimes with a proud and knowing smile, an indignant look of resistance and mimicry, or this long-studied stare as the observer becomes the observed. The gaze is returned, the observer othered. Subject owns the gaze for a frozen moment.
A proud Maasai herder (warrior age-set) vogued this pose near the crater rim in the Ngorongoro Highlands of northern Tanzania. Elegantly adorned with glass-beaded necklaces, medallion and wrist band, an amber bracelet, stretched earlobes with glass-beaded sleeves and copper pendants, and the traditional vibrant-red body wrap or shuka. High resolution Noritsu Koki QSS digital film scan, shot with a compact Pentax Espio 140 pocket camera (38~140mm AF), circa 1997. expl#46
Documentary Portraiture | Faces of Africa | National Geographic
Returning the photographer's gaze - sometimes with a proud and knowing smile, an indignant look of resistance and mimicry, or a long studied stare as the observer becomes the observed. The gaze is returned, the observer othered. Subject owns the gaze for a frozen moment.
A proud, elegant Maasai herder of the warrior age-set pauses for a moment to vogue this pose on his return to a cattle camp near the crater rim in the Ngorongoro Highlands of northern Tanzania.
Adorned with glass-beaded necklaces, medallion and wrist band; an amber bracelet; stretched earlobes with glass-beaded sleeves and copper pendants. High resolution Noritsu Koki QSS-31 digital film scan, shot with a compact semi-automatic point-and-shoot Pentax camera, circa 1997.
© All rights to these photos and descriptions are reserved and protected by international copyright laws. Any use of this work requires my prior written permission. expl#40
This work is from a series of large-scale beaded sculptures that incorporate computer-produced genetic data patterns-or DNA/RNA microarrays - from diseases disproportionately affecting Indigenous communities. These patterns are transformed into loom-woven glass bead burden straps as an act of data sovereignty. Combining these culturally relevant Indigenous art forms and beading techniques with DNA analysis raises awareness of the institutionalized health disparities that exist for Native people.
William’s Practice involves beading everyday objects. With this work, he explores the ideas around trespassing as he subtly critiques rights of land. These camping chairs – created by many hands and thousands of glass beads – are set on river rocks that acknowledge the waterways and shorelines that run through Turtle Island. He raises the questions: “Who is claiming ownership of these lands?”
Three small purses woven from seed beads by Otomi artisans from the area of San Pablito, Pahuatlan Puebla Mexico. The double-headed eagle is a typical Otomi embroidery design
For over a decade, Nazon has created celestial beadwork designs that blend traditional beading techniques with her fascination with images from the Hubble space telescope. The abstract nature of the celestial photographs allows the artist to be more interpretive. With a mixture of representational and stylized aesthetics, she can incorporate different materials such as caribou bone and willow seeds, that have location-specific significance.
This work is from a series of large-scale beaded sculptures that incorporate computer-produced genetic data patterns-or DNA/RNA microarrays - from diseases disproportionately affecting Indigenous communities. These patterns are transformed into loom-woven glass bead burden straps as an act of data sovereignty. Combining these culturally relevant Indigenous art forms and beading techniques with DNA analysis raises awareness of the institutionalized health disparities that exist for Native people.
This group of works honours the artist’s late mother and collaborator, Lorna Hill. They beaded together and embarked on ambitious community art projects together for thirty-five years. Thoughtful creation became personal condolence, a contemporary version of the ancient Wiping Away the Tears Ceremony, where handling beads “opens the throat, wipes away tears and clears the ears,” so the bereaved can once again, see, speak, and hear clearly. Sadly, Sam passed into the spirit world on 8 March 2024. His legacy will live on in the beautiful works he created.
Beautiful turquoise cabachon surrounded with bead embroidery in glass seed and E beads, metallic beads, turquoise ovals and beads, chain in glass seed and E beads in variation of Ndbele herringbone stitch. CAN YOU EVER HAVE TOO MUCH TURQUOISE?
Created for The Hypothetical Awards ...mini-challenge... "HAND JIVE": www.flickr.com/groups/1179479@N25/
My sister's beading group at work. Thanks to Gloria and Karen for sharing their hands with me. :)
Photos and texture are my own. Processed in PSE 10 and ipiccy.
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What is art ? What is Indian ? Do you consider yourself a native artist or an artist or both ?
These are just some of the questions that Teri Greeves has been presented with throughout her career. Greeves created this beautifully beaded work in response to these types of questions by using a stereotypical image of a figure in a warbonnet, and inspired by 1960s Pop Art artist Roy Lichtenstein’s oil painting ART. With this work she challenges the impulse to define and limit Native Art.
Drawing on Indigenous teachings, knowledge and ways of making, Judy Anderson creates work in tribute to the people in her life. She created this work to honour her brother, who was taken in the Sixties Scoop. Her entire family helped to complete the piece as they commemorated their loss. Anderson states: “this served as a reminder that grief is not carried alone, an idea that affirms nehiyaw belief in the importance and centrality of familial relationships as rooted in sharing with and supporting one another.”
National Gallery of Canada
www.gallery.ca/magazine/your-collection/christi-belcourts...
I couldn't remove the museum lighting glare as much as I'd have liked
The grass dance has been a part of my Dad’s family for nearly a century. Miyek’suya is the voice of male family members who went missing . . . murdered. Growing up, my father often spoke of their kindness, generosity, humility and Humour. Miyek’suya’s dancing clears the path and honours our relatives. Every detail of him has meaning. He wears a black painted streak across his eyes to remember we are and will continue to be warriors. Ceremony colours represent my family beliefs, and the red handprint honours the MMIW movement. The beadwork designs were inspired by my grandmother, Rose Ponicappo Kakenowash. Giizaagiin James.
Boyer’s work often examines what can be seen as contradictory experiences. During the COVID lockdown, the artist maintained her connection with nature and the land by watching the prairie sky from her window. She conceived of this work as an exploration of her identity as Métis, White settler and Queer, represented through the relationship among the sun, clouds and sky. For Boyer, the work ”materially connects my body, and the skies of places that were formative to understanding myself.”
One of the great pleasures of living in South Africa is, everyday, to see on display the wonderful, colourful, arts and crafts. Especially arresting are th marvellous bead-work creations, which take many forms.
Inspired by the decorated savviqutik on the front of women’s clothing, Niap celebrates the ingenuity, creativity and expertise of Inuit women. Using the tools at her hand, her ancestors created highly practical but carefully decorated objects and clothing. With Piqutiapiit, which means “precious belongings”, Niap assembled materials and objects from various places and have assembled them into a new form.
With a kindship of trust, both artist and photographer share different viewpoints of the bruise. With her beaded hide titled “But There’s No Scar?”, Blackburn highlights the trauma experienced by so many Indigenous women, while the photographer explores and celebrates the cosmology and beauty in the work and growth of the bruise.
This work is from a series of large-scale beaded sculptures that incorporate computer-produced genetic data patterns-or DNA/RNA microarrays - from diseases disproportionately affecting Indigenous communities. These patterns are transformed into loom-woven glass bead burden straps as an act of data sovereignty. Combining these culturally relevant Indigenous art forms and beading techniques with DNA analysis raises awareness of the institutionalized health disparities that exist for Native people.
Needlecase and scissor keep made for Sabine Lippert try-to-be-better.blogspot.com/
The peacock feather needle keep is adapted from a wonderful lariat design by Kerrie Slade.
With a kindship of trust, both artist and photographer share different viewpoints of the bruise. With her beaded hide titled “But There’s No Scar?”, Blackburn highlights the trauma experienced by so many Indigenous women, while the photographer explores and celebrates the cosmology and beauty in the work and growth of the bruise.
Victorian/goth style choker made using velvet ribbon, chain, glass flower bell beads and onyx pendant.