First American Art Magazine No. 22, Spring 2019 - Page 78

PROFILE above Detail of Shi wiyain in White Sky from Place series, 2016, Jemez clay, slip, underglazes, acrylic, sand, clay wood platform, 60 × 48 × 15 in., features Wall’s son, Isaiah, whose name Shi wiyain translates to “Trees in a Row.” opposite Installation view of Celebrating Native Legacies: Works in Clay by Kathleen Wall at the Indian Pueblo Cultural Center, Albuquerque, New Mexico, 2010. focused on my pottery. That’s what I know and have been doing for many years. I want to do other work, but for the markets and shows I focus on what’s in demand. RD: That year you showed Place, a series of large figures paired with paintings of landscapes. Your newest work has taken the idea a step further, with figures emerging directly out of the landscape. Can you talk about what inspired these? KW: I think [adding the paintings] came from being a fan of all the painters … Sheldon [Harvey], Tony [Abeyta], Emmi [Whitehorse], Jaune [Quick-to-See Smith], and being enamored with their ability to render a subject on canvas. I’ve 76 | WWW.FIRSTAMERICANARTMAGAZINE.COM always had such admiration for what they do. Growing up seeing paintings all around me, I wanted to be part of their world, part of that community, part of that family. So when I went back to finish up my bachelor’s degree, I decided to focus on studying painting. RD: Where and when did you do that? KW: I received my BFA in two-dimen- sional arts from IAIA in 2014. I studied three-dimensional arts when I was there in 1995. RD: Under whom did you study? KW: Linda Lomahaftewa was my most memorable teacher. She was my very first