Object 2324 by Les Namingha

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Object 2324 by Les Namingha

Object 2324 by Les Namingha

Object 2324 by Les Namingha

Object 2324 by Les Namingha

"Object 2324"
Mixed Media Sculpture
Clay, Acrylic, Wood, Paper Collage, Turquoise and Shell Beads, String, Wax String, Metal Guitar Slide
Les Namingha
Hopi / Zuni
Approximate Dimensions: 12" (height) x 7 1/2" (depth) x 10" (width)
1H041201
$3,500 (net)
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Notes on “Object 2324”

This piece expresses my thoughts concerning perceptions of Native art and objects. The piece does not concentrate on one idea, but rather a collage of ideas. Its motive is to show fragments of these thoughts to generate discussion or bring out the viewer’s own personal experiences with Native art and/or objects.

In one idea, I am expressing the disappointment of illegal artifact hunting. At the same time, I hint at archeological study and also the Native perspective. The harm of illegal artifact hunting is symbolized in one of the side panels where only an outline of what used to be there can be seen. One of the main panels show exposed objects, including turquoise beads, within a framework of lines created by string. This symbolizes the use of grids in archeological digs. The question that arises from this piece is the role of archeology, especially from a Native viewpoint. And within this idea, are the questions of Native perspective concerning the past, including the responsibilities and ties toward these objects.

The second idea addresses the question of classifying Native art and its people using numbers as a way of identification. It is understandable to have a means of identifying people and objects but, at best, it dulls personal interactions. Within native communities, there are ongoing arguments about census or tribal ID numbers, specifically dealing with blood quantum. Numerical means of identification is the standard in museum collections dealing with cultural and religious objects. In addition, booth numbers are also a common part of life with Native artists.

A final thought ponders the evolution and meaning of Native art. The fact that this clay structure veers from the normal structure of a Native jar or pot to relay a message indicates a shift in thought and design. My link to past native art is represented by the turquoise beads and the use of wax string to represent elk sinew. Modern influences within the piece include the use of crackled glaze surfaces and using a loose form of painting and drawing marks which show influences from the artwork of Robert Rauschenberg and Cy Twombly. An important piece of this work is the use of the metal guitar slide. In this structure, it acts as a modern form of a Zuni fetish. It sits as a guide to create questions about the future of Native art, such as how this “fetish” would be categorized and catalogued in the future (this can also apply to the whole structure as well).