We began the workweek with a look at small paintings, some of which were by Wings’s brother in art and spirit, Frank Rain Leaf, so I thought we’d close out the week with a look at one of his larger pieces.
As I said of Frank’s work then:
Frank’s specialty is capturing archetypal traditional images in acrylic and committing them to canvas. His work provides a series of snapshots of ordinary Pueblo life from a traditional perspective that outsiders don’t see. Not of anything forbidden, but simply of aspects of life that generally are simply not accessible to the public . . . .
It’s a restriction imposed by both location and perspective, a geography of land and spirit. Some of the images he paints are of landscapes that are not themselves restricted from the sight of outsiders, but there’s no way for an outsider to get to them; access requires an ability to traverse areas that are closed. But his work functions in another way, just as Wings’s photography does: It shows these same scapes from a vantage point that no outsider will ever see, from that of a traditional man born into the culture of his people, descended from a line going back more than a thousand years, and for whom every peak, every branch, every sighting of eagle above exists in a unique context and possesses a unique resonance that belong only to the people themselves.
Of course, this is where writing about it gets difficult. Wings often tells me what he sees, what he feels, when he captures an image or creates a piece, and so I can translate that into words for others to read. And, of course, often nothing need be said at all; I know him, I know his processes, I know what speaks to his heart and soul.
But other artists rarely talk about their work on such a deeply personal level. With our peoples, such a conversation might sometimes touch on things that are not to be raised publicly; in other situations, there often are no words anyway, because not cultural markers translate, either linguistically or symbolically.
And so, when it comes to such imagery, often the best I can do is to tell what I see. From there, each person will, of course, bring to the viewing of a piece of Native art his or her own perspective, experience, preconceptions, and desires.
And so, with this piece, I want to show you a close-up of the canvas itself. The wood frame sets off this painting perfectly, but it’s in the detail that an image that is deeply personal to the members of Taos Pueblo will likewise resonate with those outside the culture. From its description in the Other Artists: Wall Art gallery here on the site:
Frank Rain Leaf (Taos Pueblo) evokes an entire culturescape in this painting of the the Pueblo’s people and lands. It’s a timeless image, one that summons spirits long past yet thoroughly alive today. Frank’s meticulousness shows in his attention to historical detail, as seen in the men’s old-style braids and their blankets in classic striped patterns. It’s also manifest in his portrayal of the land itself: the lifelike colors and shadows of the limestone rock outcroppings, the gradients of color in the stripped bark of the old pines.
Acrylic on canvas; wood frame
$425 + shipping, handling, and insurance
Requires special handling; extra shipping charges apply
[I don’t have the painting in front of me at the moment, but from memory, I believe it’s about 18″ high by 14″ wide, including frame. I’ll verify later and edit accordingly, if needed.]
In the description, I chose to highlight the limestone rock and the skeletal trees very deliberately. To me, they’re emblematic of Frank’s quasi-realistic style: not precisely photographic realism, but a style that combines a very true-to-life approach with his own somewhat impressionist technique. Do the trees look exactly like our ancient piñon stripped of bark? Of course not. But anyone familiar with the real thing will recognize the likeness instantly, on a very visceral level.
It’s yet another way in which Frank’s art brings the scapes of his people and their lands to the wider world: the fact of the landscape itself, and the way in which he, from his history, his culture, his own particular vantage point, experiences it.
It’s a means, in a small yet very tangible way, of ushering those on the outside into the inner heart of his world.
~ Aji
All content, including photos and text, are copyright Wings and Aji, 2015; all rights reserved. Nothing herein may used or reproduced in any form without the express written permission of the owners.
