I have approached my works on paper with the understanding that I am generating individual visual representations of personal experiences from having lived on the Reservation.
In the years that I have been away, my life has continued to reveal the residual effects of various traditions, ideas, and memories of the Reservation. This is because Native people do not exist in the mainstream of American consciousness in an open, direct way.
It is not important for me to communicate either one identifiable political message or one literal personal narrative to my audience. I intentionally tempt viewers into believing that a satisfactory interpretation can be reached because the images and symbols that I employ are completely identifiable, e.g. a red chair, a Brooklyn brownstone facade, a chocolate cake. But the works, like my self, are opaque and beyond the scope of references known to the mainstream. This adds to the depth of absence and presence; the spare, mysterious quality of my work magnifies the weight of implicit desire and cultural voyeurism. These are themes that I have persisted in returning to.