Читать книгу Lost Worlds of 1863. Relocation and Removal of American Indians in the Central Rockies and the Greater Southwest онлайн

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The theme of the mural was initially designed to act as an extension of the gallery’s thematic focus of celebration and triumph. But as the design of the gallery was still being solidified, I was struggling with the potential outcomes of my own painting plans. I wanted to tell the real story of conflict and resolution, of fear and struggle, and the issues of identity, which haunted me in my personal work. With innocuous stories incased in those kiosks, I continued my research in the early stages of the project.

A large portion of my research involved travelling to each of the 22 Native Tribes and speaking with representatives of each Nation. I was continuously inspired by the compelling and unifying stories I heard travelling to these destinations on the road with the Heard Museum staff. Ongoing discussions with the Heard’s education department, primarily Joe Baker and Wendy Weston, proved essential in helping me focus on the late nineteenth century era to the present day.

Joe Baker’s influence on me and the mural cannot be overstated. His knowledge, guidance, and trust in me throughout the entire project were essential to the success of the piece. He helped me navigating my new museum experience at the Heard, protecting me from the politics of the institution and encouraged me to make a statement that resonated with me. I was mostly concerned with painting a truth about a history. A truth I had heard throughout my life, bequeathed to me through elders, cousins, uncles, and aunts, through the stories of our family. At the onset of painting the mural I was fully committed to telling it like it is, and like it was.