MC Snow will miss the grilled octopus, but they’re happy to be home.

Just this week, Snow returned from Paris, where their work was featured in the Revelations International Biennial of Crafts and Creation, which, this year, honoured the province of Quebec. 

Snow, who is Kahnawa’kehró:non, was part of a contingent of six Indigenous artists that travelled to the biennial; their work was situated in the centre of the show, which for curator Michael Patten meant that freestanding sculpture works had to be selected. Snow felt a sense of camaraderie amongst the five other Indigenous artists: Nadia Myre (Kitigan Zibi), Renee Condo (Gesgapegiag), Craig Commanda (Kitigan Zibi), Caroline Monnet (Anishinaabe), and Ludovic Boney (Wendake). 

Much of Snow’s work references Kanien’kehá:ka legends and culture, and their piece for the biennial, Lunaris, is no exception, as it makes reference to Grandmother Moon and the creation story.  

There is thought behind every aspect of Lunaris, right down to the materials used. Snow makes reference to Kanien’kehá:ka pottery – “the soil, the clay, from Mother Earth.” Using fibreglass, epoxy resin, and encaustic paint made from beeswax, natural pigments and resin handmade in Montreal, Snow developed an “exploded encaustic globe” that signifies an inward turn towards the introspective. 

“I guess it’s an expression of going through changes, going through an evolution of sorts. The piece is about personal growth,” said Snow. 

Lunaris, or Mooncrust, was inspired by the time Snow spent developing spherical public artworks for the city of Montreal. They felt trapped in this format, but this most recent work represents a break – liberation from the snares that encircle us. The sculpture is about “creating some kind of new life from (Mother Earth’s) demise,” said Snow. 

The base of the sculpture, welded by Kahnawa’kehró:non Clive “Cookie” McComber, is part of the work, said Snow, meant to articulate the fragile balance that our world hangs in. 

Snow began Lunaris six months ago, and the sculpture demanded tedious attention, with the globe constructed by layering encaustic paint – each coat requiring a period of drawing in between.  

Patten, who is from Zagime Anishinabek First Nation, is also the director of the Contemporary Native Art Biennial based in Tiohtià:ke, and was chosen to curate the Indigenous works featured in the Paris biennial. 

“I kind of wanted to challenge assumptions about what Indigenous art is and what it can be, so I was choosing some more contemporary pieces, and I really wanted to highlight diversity of practice,” said Patten. 

“I thought it was a great opportunity to show them that it’s a living, present culture, not just something in the past.”

Organized by Ateliers d’Art de France, Revelations brings together 400 exhibitors on a biannual basis in the heart of Paris, adjacent to the Eiffel tower. 

“I think it’s going to lead to a lot of other things,” said Patten of the biennial. 

This article was originally published in print on Friday, June 16, in issue 32.24 of The Eastern Door.

TSAILE, AZ — Diné College celebrated its inaugural Native American Art Market June 9-11, a three-day event that featured the artistic works of approximately 43 pre-selected artists and musicians from the Navajo Nation and the wider Four Corners region.

The market, held at the heart of the Diné College campus, showcased a diverse range of Native artists, including experts in silverwork, basketry, textiles, moccasin-making, painting, pottery, woodwork, and sculpture.

The event aimed to highlight Diné College’s commitment to Native art and establish the College as a focal point for generations of Navajo artists in the region. With its resounding success, the market is set to become an annual tradition open to artists from all tribes.

In contrast to larger markets like the Southwest Association for Indian Arts Market in Santa Fe and the Heard Museum Guild Indian Fair & Market in Phoenix, the Diné College event offered a unique opportunity for visitors and artists of all ages to reconnect with their roots and engage in art transactions within a serene educational setting.

Diné College, nestled amidst a dramatic landscape, proved to be an inspirational center for many Native artists, fueling their creative vision and fostering a sense of community.

The Native American Art Market kicked off with a juried competition at the Ned Hatathli Museum, where local artists, college professors, and collectors evaluated the artworks on display. On the evening of June 9, a public reception honored the winners, who received hand-made sash ribbons adorned with silver Diné College pendants.

Crafted by Aaron Begay and Delia Wanueka, alumni from the Navajo Cultural Arts Program at the College, these one-of-a-kind award ribbons added a touch of distinction to the event.

The market’s success was made possible through the support of the Navajo Cultural Arts Program at Diné College, the College President’s Office, and an anonymous donor. The event was organized by Crystal Littleben, Program Manager of the Navajo Cultural Arts Program, and Nonabah Sam, adjunct faculty at the School of Arts & Humanities and museum curator at Diné College.

The highlight of the event was the announcement of the Best of Show winner, Tim Washburn, a renowned sculptor from Kirtland, New Mexico. Washburn, a member of the Diné tribe, is celebrated for his lifelike depictions of traditional Navajo warriors, mothers, children, and grandparents in stone and bronze.

His winning sculpture, titled “Looking Forward and Holding to Our Traditions,” depicted a Navajo grandmother in traditional attire alongside her young granddaughter, who carried a rag doll in one hand and a cell phone in the other. Washburn expressed his delight in being part of the Diné College Native American Art Market, praising the talent of the participating artists and stating, “This is Navajo country. The show can only move forward.”

In addition to Washburn, several other artists received first prizes and honorable mentions in their respective categories. Jennifer Curtis won in the Jewelry and Lapidary category, Myron Denetclaw excelled in 2-Dimensional Art, Penny Singer impressed with Weaving and Textiles, Darius M. Charley showcased expertise in Diverse Art Forms, and Leander Goldtooth’s Basketry stood out. The Honorable Mentions went to Cheyenne Grabiec (Jewelry and Lapidary), Bob Lansing (Pottery), Antoinette A. Thompson (2-Dimensional Art), Duwayne Chee, Sr. (Sculpture), Deborah Teller-Tsosie (Weaving and Textiles), Rain.