I’ve just finished a new piece which culminates a six year process that resulted in THE EXPLORER ARTISTS: Bodmer – Catlin Series. Although this new sculpture is not part of that series, it has a very strong personal connection to one of those artists.

Today, George Catlin is considered by many to be the father of Western Art and yet he was laid in an unmarked plot for almost a century, until 1961. Since then, awareness and respect for this man and his work has grown to a level that parallels his life’s accomplishments.

The President of Green-Wood Cemetery, Richard Moylan invited me to create a sculpture relating to Catlin’s life as a way to pay homage to this important artist. THE GREETER will be placed at the edge of this historic site to welcome Catlin’s many visitors before the end of this year.

My new sculpture, THE GREETER is based on an account by Catlin of the time he spent with Black Moccasin who was the Chief of the Hidatsa’s. Catlin believed the Chief to be over 100 years old at that time. Black Moccasin shared with Catlin many of his recollections of Lewis and Clark. He was the first of his tribe to meet them some 30 years prior.

This sculpture is my interpretation of what Black Moccasin may have looked like at that time; a man in his 70’s standing on the bank of the Missouri River, holding his ceremonial pipe and making a welcoming gesture with his eagle fan.

The Greeter is an 80% life size bronze, standing approximately 6’ 6” high and is an edition of 15. One of these editions will be placed in Green-Wood Cemetery at the entrance to the Catlin family plot.

"THE GREETER, Black Moccasin Meeting Lewis and Clark" will be introduced at the 46th annual Cowboy Artists of America exhibition and sale October 14, 2011 at the National Cowboy and Western Heritage Museum in Oklahoma City.

THE GREETER, Black Moccasin Meeting Lewis & Clark
6’8” H x 39” W x 22” D
Bronze, Edition of 15

The Blackfeet had a special class of children they called Mini Poka. This literally translates to “child of plenty”.

My sculpture represents a little boy who belongs to this special group of children. I’ve portrayed him at his shield transfer, wearing accoutrements of the ceremony including a coup stick and traditional Blackfeet standup bonnet.

MINI POKA, The Favorite Son
24” H x 9” W x 6 ½” D
Bronze, Edition of 35

1876, GALL – SITTING BULL – CRAZY HORSE
53” H x 93” W x 34” D
Bronze, Edition of 5

As part of what might be a typical night time ceremony for the Plains Indians a Medicine Man would dance around the fire. Using a menacing looking stick with an animal skull at its end, he would thrust and extend this into the air to invoke fear and rid the ceremonial grounds of unwanted evil and spirits.

THE SPIRIT CHASER
24” H X 15” W X 19” D
Bronze, Edition of 25

BUFFALO MEDICINE
36” H x 24” W
Charcoal on Gesso Board

A Little girl holds a wooden figure; both are wearing a shaft of corn husk ribbons which identifies them as Hopi Clowns or Kwirena. Unlike Koshari, who are the summer clowns, Kwirena are involved in winter ceremonies and associated with the germination of corn. Hopi Clowns usually provide comic relief during some ceremonies such as playing practical jokes or mocking members of the tribe.

LITTLE HOPI CLOWNS
21 ½” H x 10 ½ “ W x 8” D
Bronze, Edition of 35

Many of the Pueblos share in the same types of ceremonies. The summer Corn Dance begins in the privacy of the Kiva where the super naturals bestow promises. When the time is right, the dance moves outside to the Plaza.

Taking the dance into the light of day, the promises made in the Kiva for the germination and growth of the crops are made known to the world through the song and gesture of the dancer. Here, a Santa Clara child through her rhythm and movement is “Bringing the Buds to Life.”

BRINGING THE BUDS TO LIFE
Bronze, Edition of 35
32” H x 12” W x 10” D

GHOST DANCER
Bronze, Edition of 50<
9" H x 6" W x 6" D

The Ghost Dance was part of a religious movement that formed during the beginning of the reservation period. It was believed by its followers that when the prescribed instructions were adhered to, they would be protected from the weapons of the white man and be free to return to their old way of life.

MR. DELEGATE
Bronze, Edition of 35
20” H x 9” W x 9” D

A tactic that the US Government used in hopes of placating the Indian Nations was to bring successive groups of their Chiefs to Washington to impress them with the strength and wealth of the US Government. Although these diplomatic trips were of little help to either side, they became fairly common and some of the Indian delegates enjoyed bringing home with them mementos that represented culture in Washington DC. My sculpture depicts one of these delegates wearing his souvenir, the ultimate symbol of white man’s Washington culture.

My sculpture titled 1876 depicts who is considered to be some of the most important principals involved in the battle of Little Bighorn. Gall led some of the early charges and it is said that Crazy Horse led the decisive charge that killed Custer. Although Sitting Bull did not participate in the battle, it was his dream of a great victory during a vision quest that brought the Indians together at Little Bighorn. I was told by my guide at the Memorial Site of the many advantages that the Indians had over the Calvary. Most notable I think was the repeating Winchesters possessed by the Indians, like the one Crazy Horse is holding, as opposed to the Calvary’s single shot rifles. In contrast to that, it is said that Gall carried only his axe into battle; as a way, perhaps, of avenging the death of his family who were killed by the Calvary at an earlier date. 55" H x 96" W x 36" D Bronze, Edition of 5

Life was extremely difficult for the Native American tribes during the reservation period of the 1890’s. Holding onto as many of the traditions that celebrate the old ways was very important. My sculpture, Reservation Dolls depicts a little Sioux girl from Rosebud wearing a traditional deerskin dress, probably passed down from better times. She also has on her mother’s hair bone necklace and with her two companions, all dressed in their finest, they make their way to one of these celebrations.
18 ½"H x 8" W x 7"D
Bronze, Edition of 35

INTO THE UNKNOWN
Bronze, Edition of 35
16” H x 12” W x 8 ½” D

There is perhaps no better symbol or metaphor for courage than that of teenage Sacagawea carrying her baby while accompanying Lewis and Clark and the Corps of Discovery on their journey to a new world.

My portrayal is that of Sacagawea and her baby on the precipice of the known world. She tentatively gazes on what lies ahead before commencing her historic journey as a guide Into the Unknown.

MYSTIC SMOKE and SACRED ARROWS
Bronze, Edition of 35
39” H x 19” W x 16” D

Mystic Smoke and Sacred Arrows was inspired by a Mandan ritual George Catlin witnessed in the 1830’s. By draw, a group of young men were chosen to take turns staking their personal medicine and reputation on their ability to bring rain to the drought stricken Mandan people. Once this process started, there was no end until the rain came.

This type of ceremony was performed by other tribes as well; the use of sweet grass and sage burned to create a smudge or mystic smoke that carried their prayers to the Great Spirit was not uncommon.

In the ceremony that Catlin witnessed, the young men’s techniques varied with the exception of the use of smoke. After several days, the man who was successful by using the mystic smoke and a sacred arrow pierced the clouds, bringing an end to the drought.