JP Arviso

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TRIBAL AFFILIATION: Navajo Nation

MEDIUM: Jewelry

BIOGRAPHY
Born on the Navajo Reservation and raised as a Diné man, JP is of the Red Ochre on the Cheeks clan and born for the Water Flows Together clan. Silversmithing began as a hobby when he was working. During holidays and birthdays, his designs were made for close family and friends. From time to time, he also completed custom commission work. In August of 2017, JP made the transition to silver smithing and gold smithing full-time upon his retirement. The underlying concept for his designs is for the finished work to be practical, wearable and resilient for continual use. All of the gemstones (turquoise, coral, jasper, shell, etc.) used are natural and untreated to follow traditional Navajo jewelry. Every ring, bracelet, necklace, earring, bolo tie, pendant, belt, bridle, etc. is a distinct, individual handcrafted item. Beginning with raw materials, JP handpicks high-grade silver, gold, gemstones, precious stones, and leather for his designs. Long-established and more conventional techniques he uses include traditional stamping, filing, overlaying, tufa casting, sand casting, and dimensional engraved overlaying. Growing up on a ranch, JP has a been a cowboy his whole life. He traveled to rodeos for bareback riding, bull riding, steer wrestling and team roping. Naturally, his life is reflected in his work and influences his artistic direction by including contemporary Western bright cut engraving and leather braiding complimented with Bulino style concho sets. Learning to set precious stones (garnets, emeralds, rubies, etc.) are his most recent efforts to broaden his knowledge of silver smithing and gold smithing. All of JP's works, designs and pieces are treasures that are timeless timepieces made to wear for the rest of your life.

 

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Nanibaa Beck

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TRIBAL AFFILIATION: Diné (Navajo)

MEDIUM: Jewelry

BIOGRAPHY
Nanibaa Beck is a 2nd generation Dine' (Navajo) jeweler. At 13, she was an assistant to her father, Victor Beck, Sr., and learned fundamental jewelry skills, like how to fabricate metals and to inlay stones. During her academic years, she studied anthropology and museum studies. Her background includes work and fellowships with renown museums and organizations, like the Heard Museum, the National Museum of the American Indian, the Peabody Essex Museum, and the Arizona Humanities Council. Through it all, her focus remains connected to the vibrant Native creative community.

In November 2013, Nanibaa founded NotAbove. Her a-ha moment to pursue jewelry occurred after a small thank you card project sparked the idea for the original language necklaces. The hand-sawn minimal jewelry collection's focus on native indigenous languages fulfilled a unique niche in the native art market. And, today, NotAbove/ Nanibaa Beck Designs is a reflection of Native creative expressions and the growth of an Dine' 'Asdzaa (Navajo woman) as a designer.

She continues to grow in her work today. She received the 2018 First People Fund Artist In Business Leadership Fellowship and the School of American Research’s Ronald & Susan Dubin Native Artist Fellowship and Artist in Residency.

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Philbert Begay

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TRIBAL AFFILIATION: Navajo

MEDIUM: Jewelry

BIOGRAPHY
Philbert Begay is a member of Kinlichinii Natoh Dine’, the Redhouse Tobacco Clan, and he is the son of noted Navajo silversmith Richard Begay. His father was his biggest influence, and he also has been influenced by his uncle Victor Beck, uncle Patrick Taylor and James Little. Philbert learned silver work from his father by polishing and finishing pieces for him as a young boy. He started making jewelry when he was 14 years old, and went out on his own at age 21.

After attending the Colorado Institute of Art, Philbert began working with his father part-time and is now a full-time silversmith specializing in sterling silver and 14K gold contemporary Navajo jewelry.

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Gal Frey

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TRIBAL AFFILIATION: Passamaquoddy

MEDIUM: Basketry - Ash

ARTIST STATEMENT
Gal Frey is a traditional Passamaquoddy basketmaker, beadworker, jewelry worker and quillworker well known nationally for her expertise in the ash and sweetgrass basket traditions. She also makes earrings with porcupine quills and glass beads, and designs beaded stone pendants on necklaces. Gal learned the art of quillworking from Joan Dana and the art of weaving baskets from Sylvia Gabriel and other family members. Her beadwork is self-taught, and she gathers the ash and sweetgrass herself and finds the quills on the roadside. Each piece is designed individually. Gal, who was raised at Pleasant Point,  is an intergenerational teacher (basketry, regalia), committed to the continuity of Passamaquoddy culture. Her mother, father and grandmother also made baskets, as do her sons, Jeremy and Gabriel. Gal is a licensed Massage Therapist employed with Indian Health Services, Pleasant Point and Indian Township, as well as through her art Gallery and Spa. Her role as an elder and grandmother furthers her understanding of intergenerational processes in cultural learning. She is a member of the “Sipayik Cultural Committee”, a team of individuals who are committed to volunteering their time and energy at the Waponahki Museum to keep cultural activities alive in their community.

 
 
 

Sierra Henries

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TRIBAL AFFILIATION: Chaubunagungamaug Band of Nipmuck

MEDIUM: Woodwork, Jewelry

ARTIST STATEMENT
I create birch bark art featuring pyrography (woodburned) designs. My process includes gathering bark from the trees, cutting the bark to size, free-hand sketching my design, oftentimes cutting out the design, and then finally free-hand burning the design to complete the piece. Occasionally I will do my pyrography work on other natural mediums as well.

 

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Georgia Kieyoomia

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TRIBAL AFFILIATION: Hopi/Navajo

MEDIUM: Jewelry

ARTIST STATEMENT
Hello my name is Georgia Kieyoomia. I am Navajo and Hopi, born and raised in Shiprock, New Mexico, current living in Mesa, Arizona. My designs come from my interpretation of the world around me and translate through creation of a physical piece. My jewelry varies from a wonderful blend of contemporary and traditional styles. As I work I feel it is important for me to create each body of work with respect to a theme. In doing so, I allow the theme to guide me through the design and creation of each piece. I enjoy the visual effects of coupling hand cut gemstones and minerals with my metal designs. This allows me creative freedoms to design forms from beginning to end. This approach allows me to maintain the traditional styles and a more contemporary effect to my finished pieces.

My goal is to interpret my surroundings using fine metals such as gold, silver, copper, brass, and bronze incorporated with natural gemstones. I continue to challenge my abilities by discovering new ways to create uncomplicated, multifaceted, and new pieces. Consequently, I have started to work with shakudo, shibuichi, and mokume gane metals. I’m currently incorporating a new technique into my pieces and that technique is called “Kembu”. I showcase: Hopi overlay technique, married metals, stamping, lost wax, casting, metal inlay metal and stone inlay.

 
 
 

Priscilla Nieto

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TRIBAL AFFILIATION: Kewa Pueblo

MEDIUM: Jewelry

BIOGRAPHY
Santo Domingo Pueblo artist Priscilla Nieto is renowned for her award-winning heishi necklaces. Using traditional methods, painstakingly hand grinding and drilling each individual bead. Timeless one of kind pieces - all hand made jewelry.

 

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J.J. Otero

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TRIBAL AFFILIATION: Navajo

MEDIUM: Diverse Arts, Jewelry

BIOGRAPHY
JJ worked in IT for 25 years before moving into the art world full-time. Outside of a short stint painting, with some success, in 2010, JJ focused diligently on his musical craft, a true passion. JJ’s life was shaken up, and in 2016, he found himself moving back to the Navajo reservation, searching for a means to make a living. During this time of resetting, chores around the family home required JJ to be resourceful with materials such as wood, metal, and tools. His father, Chester, worked on a rickety table, barely holding up his chainsaws and chain sharpening equipment. JJ set out to find old 2x4’s and some screws and cobbled together a work bench and seat that his dad still uses today. More than a year and various woodworking projects later, his sister Cleo asked if he could make a cradleboard for her coming grandchild. That first cradleboard was the beginning of JJ’s career in the arts. JJ’s philosophy guides all things in his life: This moment is perfect and there’s nothing lacking. With this deep abiding fire, JJ continues to admire the texture and beauty of wood grain and continues to be amazed by the smell of freshly sawn wood. In addition, JJ’s unique stamping and texturing styles make his silverwork stand out, a newer passion in his ever-growing career!

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David Lonebear Sanipass

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TRIBAL AFFILIATION: Mi’kmaq

MEDIUM: Painting; Jewelry; Woodwork

ARTIST STATEMENT
My name is David Lonebear Sanipass, I grew up in northern Maine. I am from the Mi’kmaq Nation. I am a carver, make flutes, I paint and sketch. As an artist you want to be able to represent your art. I find the best way is to be able to talk about what it means. Some of what I do is so intricate you’re not really looking at what it means. The representation has been lost through interpretation. Part of the beauty isn't appreciated because it doesn’t speak to you. We have found a way for my art to speak with you, to come from my spirit, so it can be better appreciated and you will know more where I am coming from.

 

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Tol-pi-yiné Simbola

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TRIBAL AFFILIATION: Picuris Pueblo

MEDIUM: Jewelry

BIOGRAPHY

Tol-pi-yiné is a metalsmith from Picuris Pueblo, New Mexico but makes his creations from a small studio space in the heart of Downtown Santa Fe. 

"My mother taught me to make jewelry when I was 12 years old while she was homeschooling me and I was fortunate enough to create jewelry and participate in the prestigious SWAIA Indian Market in Santa Fe, NM for 7 years as a youth. Creating jewelry for the Indian Market became my art class and I was able to explore basic fabricating techniques. Years of experience and inspiration from the top of the line Native Artists I was surrounded by, made me even more creative and willing to experiment."

Tol-pi-yiné's newest creation "Dragon Skinn" is a stand-out contemporary line of jewelry that resembles the scales or 'skin' like texture of the mythical creature, created by meticulously and repeatedly stamping from both sides with a single diamond repoussé stamp. 

"When I think of typical “Native American” art, I think pottery, paintings of plains and horses, sculpture, basketry, sacred things with natural color, and certain geometrical shapes. Sterling silver is not always one of these - especially in the hands of someone like myself. Growing up traditional but also having influence of the modern world has given me a different perspective on designs as a jeweler. Even though I keep a certain aesthetic, I like to try new things to see what may come from my inspirations at the time. I don't center my work around turquoise or traditional influence - but rather let my stamp work and fabrication speak for themselves. Everything I create is one of a kind, and no two pieces are the same."

 

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Roy Tenorio

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TRIBAL AFFILIATION: San Felipe Pueblo

MEDIUM: Jewelry

 

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Jannette Vanderhoop

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TRIBAL AFFILIATION: Aquinnah Wampanoag

MEDIUM: Diverse Arts, Jewelry

BIOGRAPHY
Jannette Vanderhoop is from the Aquinnah Wampanoag Tribe (Gay Head) on Martha’s Vineyard. Her modus operandi is to “educate people to respect nature through art” and so, she produces her work as a form of environmental expression. By utilizing random parts of the natural world, including found and reconstituted materials, there is no lack of inspiration or originality. She has mastered concepts of color, shape and design experimenting with materials and techniques.

Using locally sourced wampum shells from the rugged coastline of Martha’s Vineyard, Jannette’s organic, colorful jewelry is appreciated for both its eccentricity and it’s simplicity. Meant to inspire both the wearer and the viewer and connect them to the essence of the sea. Each colorful piece she makes is a wearable art object that nods to her culture and the history of her tribe while also celebrating her connection to the land.

 

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