Jewelry by Aaron Brokeshoulder (Choctaw/Shawnee/Kewa).
to try to accomplish; this is how she avoids boredom in her craft. Though her geometric experiments reinvent much of the traditional imagery of the Jemez Pueblo, her process of finishing pieces has been passed down by her people for countless generations.
AARON BROKESHOULDER (Choctaw/Shawnee/Kewa)
Life’s subtleties present themselves in the jewelry crafted by Aaron Brokeshoulder. Earlier in his career, Brokeshoulder says he used structured templates, but maturation has brought with it a certain appreciation for deep self-reflection, a quality which the artist admits brings “deeper and darker meanings” to the imagery of his works. The skill of jewelry-making was taught to
him by his parents, his mother of Shawnee/ Choctaw descent and his father of Kewa. His one-of-a-kind works often strike an industrial tone through use of various metals, primar- ily silver. The artist’s tagline, Do You Have A. Brokeshoulder?, playfully invites patrons to be part of a creative process that is many times uniquely designed for the wearer or chosen to reflect the owner in some way. Brokeshoulder believes Native art “strives
to keep the conversations open between dif- ferent cultures and can educate others to the ways that we are similar.” He adds, “as society innovates, so do indigenous artists.”
KELLY CHURCH (Grand Traverse Band of Ottawa and Chippewa)
The masterful basket-weaving skills of Kelly Church are known to a global audience. The artist’s works have been featured across con- tinents and reflect both indigenous heritage and degrees in fine arts from the Institute of American Indian Arts and the University of Michigan. Her medium is black ash, used by
Basket-weaving by Kelly Church (Grand Traverse Band of Ottawa and Chippewa).
SMITHSONIAN INSTITUTION 45
her family and Nation for millennia. Besides the Art Market, Church is also an alum of the Museum’s prestigious Artist Leadership Pro- gram, which aims to foster cultural continuity while reflecting artistic diversity. The basket design for which she is perhaps
best known is her signature “Fiberge Egg,” whose namesake shape opens in the center and is made in a variety of sizes. Church also designs bracelets and is the only black ash basket maker to embellish with elements of copper, silver and brass. The artist enjoys not only providing unique
artistry but also sharing the creative process with those who collect her works. In this way, Church’s art provides a platform for her activ- ism. Black ash, the critical element of her bas- kets, is threatened by an invasive species called the emerald ash borer. The incredible loss of this resource also threatens the art form so pre- cious to her people. Church brings attention to this by speaking on the topic across the coun- try. She is also instrumental in the effort to save the seeds of the tree, so that the tradition can be sustained for future generations.
PHOTOS COURTESY OF THE ARTISTS
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