Meet VOICES Artist Robert Martinez
We love Robert Martinez’s work and we think you will too! Make sure to wander by the Windows (Laguardia and West 3rd Street on view 24/7) to see his work along with the rest of the artists in VOICES, up through September 10th!
ps. he’s got some really cool work available for sale on his website, make sure to check it out!
“Chicken Hawk” Graphite & Acrylic on Vintage Map image
What was life like growing up in Wyoming? We've read that the West and its people are a major influence for your work, as is your native heritage. Can you tell us a bit about that; some specifics or examples perhaps?
Well, as can be expected, Life in Central Wyoming and on the Wind River Reservation gives a person a unique outlook. We’re the least populated state in the USA & home to 2 Tribes; the Northern Arapaho & Eastern Shoshone, Though we get a lot of traffic from people out of state (let’s say on the way to Yellowstone Park) “WE” always think of ourselves as a bit different. Our neighboring states are similar but if you're from Wyoming, you’re “from Wyoming”. It’s a bit difficult to describe and both more simple and more complicated than you might think.
Take for example my Heritage; I’m Northern Arapaho, Chicano and some Irish/French in there too. I identify with my tribal identity more as I was raised more around my Arapaho Family, but I'm also comfortable in modern settings around non-natives. My work is like that; seen through one (particular) lens but “seeing” more than one thing at time creating a mixed scene. Most people are very conservative here, but they also see value in the contemporary.
Our Elders speak to us about learning our traditional language and our culture, but then will visit with you about the latest show on Netflix or complain about the upgrade app changes on their new smartphone.
It’s that Mix of Past & Present, Traditional and contemporary that I find interesting.
“Be Goode” Graphite & Acrylic on Vintage Map image
The works included in VOICES appear to be drawings done over historic maps. Can you tell us a bit more about them; what these maps are and what inspired the series?
I went to Rocky Mountain College of Art & Design and studied the “classic” way of composing and painting. I’d sketch an idea, get the shading/ tones and composition they way I wanted, then transfer that to canvas and paint. But then I’d end up with a nice drawing and a painting of the same image. I’d usually sell the painting but ended up keeping the drawing… until I hit on the idea of creating “Ledger Drawings” from some of other notable Ledger Artists like Don Monteleaux, Terrance Guardipee, and the work of Chris Pappan.
Ledger Art came from the tribes of the plains. In the late 1800’s as we were being pushed on to reservations and the buffalo were being hunted to extinction. Tribal artists couldn’t make our traditional “Winter Count” or commemorative art on tanned hide. So we traded or were given ledger books that were already filled out. We would disregard the background, writing and lines, then draw or paint over them. It became a tradition that continues to this day.
There are some great Contemporary Ledger Artists like the three I mentioned earlier and also: Dwayne Wilcox, John Pepion, Holly Young, and Joanne Growing Thunder.
My work on documents, maps or other paper backgrounds with printed text/images is my contribution to the “Ledger” genre, however, I USE the background imagery in my work. I find that using a particular map or page of text that resonates with the figure I might create on it makes for a better piece with added layers of meaning.
“Bad Mamma Jamma” Graphite & Acrylic on Vintage Map image
Your work grapples with historic themes and cultural myths as they relate to current topics, often juxtaposing imagery that makes visual statements on today's issues. Can you tell us a bit more about how the past and the present inform your subject matter, and what themes you're currently thinking about through your work? We love that mentoring emerging artists means so much to you! Did you have any mentors growing up that inspired this focus and the need to continue to give back? If so, can you tell us who some of them were/are, or else some of your favorite mentees? It would be awesome to know more about what arts education has meant to your life and career!
I’m a mix of different cultures and carry with me a mix of different traditions, and I live in a place in which the past and present mix daily. It’s that same “mix” that I find so interesting in the people I know and in the art I create. Much of my current work in aimed at adjusting peoples expectations of who Native People are and what “Native Art” is.
Why is it that if I create an image of a Native person on a map of Wyoming, that it’s labeled as “Native Art”? Is it because I’m Native? Is it because the figure’s Native? Why isn’t it just called a realistic portrait? Why isn’t it just ART? If a Non-Native (ie: White) artist created a similar piece but of a non-native figure, what would that be labeled as? It’s these kinds of questions l try to ask or bring out to the viewers.
I didn’t really have any Art-type mentors growing up, however, I did have very supportive parents and a hugely supportive family. As I began to get out into the Art World I found that older, more established artists were a wealth of information and a huge influence on how I conduct myself as an artist. Artist like everyone I’ve already mentioned: Jackie Sevier, Eugene Ridgebear Jr,, Bunky Echohawk, Roger Broer, Emil Her Many Horses and then there are my contemporaries whom I continually talk with: John Pepion, Ben Pease, Louis Still Smoking, Bruce Cook, Gill Scott, Charlie Her Many Horses and others.
I have to say at least 95% of my success has come from advise or tips from other individual artists. That fact has pushed me to give back to my community and to other emerging artists. I try to help as much as I can, from answering questions, giving tips, or to teaching them a bit more about the business side of being a Native Artist (Thanks to First Peoples Fund! Google them!) through Native Artist Professional Development workshops.