Grant Projects – gallupARTS

Apr

The Route to Trade & Talent? The Arts Are the Way

The theme of this year’s Economic Development Week is “Driving Gallup Forward: The Route to Trade & Talent.” For Gallup, the route to trade and talent is not paved in gold, but painted in vibrant colors, beaded in intricate patterns, inlaid with turquoise and coral, and woven with expressive designs. The arts have always been Gallup’s true economic engine, and, in order to continue driving Gallup forward, it is imperative that creative entrepreneurship and small business development be newly empowered.

To recap a principal aspect of Gallup’s trade history and sector: the arts generate tens of millions of dollars in local economic activity every year—double or triple that when you factor in how galleries, concerts, art markets, and cultural events generate spending on lodging, restaurants, and transportation, and feed the tourism industry. Arts and culture are known to be one of Gallup and McKinley County’s biggest exports; artwork produced in Gallup circulates through regional, national, and global markets, bringing outside dollars into the local economy.

The arts also play a key role in talent attraction and retention. Gallup’s dynamic creative landscape complements its natural beauty and offers a compelling value proposition for professionals and businesses looking to relocate or expand. The arts also catalyze development and growth, with creative placemaking and place keeping being nationally recognized, effective strategies for neighborhood revitalization.

Yet, investment has been lagging. The City of Gallup does not have an Arts & Culture Department, for example. McKinley County is lacking a proper art museum.

Cue gallupARTS: over the last decade, gallupARTS has procured $1.2M in state, regional, and national funding (in addition to the $187K provided by local governments) to invest in the cultural life of Gallup and McKinley County and to provide direct business and career support services to artists. This year, through a grant from the newly established New Mexico Economic Development Department’s Creative Industries Division (an initiative for which gallupARTS took a lead advocacy role), the organization is piloting an innovative model for artist business training that several Albuquerque- and Santa Fe-based organizations are tracking. It’s called the Creative Entrepreneurship Cohort Program and the concept is to engage a small group of local artists with varying levels and kinds of career and business

experience in co-designing a year-long program of targeted and tailored professional development and robust peer mentorship.

The program model is rooted in feedback from artists and creative entrepreneurs, who have told us they especially value multi-part professional development workshops for their opportunities for learning, implementation, and follow-up. gallupARTS has received repeated feedback about the need for a dedicated space to receive consistent, ongoing help. The Creative Entrepreneurship Cohort Program is designed to meet these needs and to provide meaningful and transformative support to local artists in starting or growing their businesses and/or advancing their careers.

The Program launched last March, with the cohort of artists deciding that the best place to start is not with business planning or skill development, but rather with career coaching. They have since met to work on setting goals within the context of real life opportunities and constraints. We are excited about the direction the Creative Entrepreneurship Cohort Program is taking and will report on its progress in March 2027.

The “Route to Trade & Talent” requires not only infrastructure, but imagination. By embracing the creative industries as a cornerstone of community development, we can chart a path that is both economically robust and culturally grounded.

Oct

Q&A with the Gallup New Deal Art Virtual Museum Web Developers

Kevin Wolf and Kyle Gulau of Percent Invisible are the web developers behind the Gallup New Deal Art Virtual Museum. Here, they give insight into the process of designing and building a first-of-its-kind virtual museum.

How did you go about translating what is traditionally an in-person experience into a digital experience?

Translating an in-person museum experience into a digital one required us to rethink how people feel and interact with art when they can’t physically stand in front of it. Our goal wasn’t just to replicate a gallery online – it was to create an experience that would engage visitors on their own terms, through curiosity, discovery, and storytelling.

We used white space and visual pacing to create a structured, spatial experience – one that gives each artwork room to breathe and helps visitors feel grounded as they move from piece to piece. We designed layouts that allow art and interpretation to be viewed simultaneously, so users can engage both visually and intellectually without losing their sense of place.

We also introduced the concept of digital “rooms” for special exhibitions, echoing the feeling of walking through curated spaces. Clear wayfinding, intuitive navigation, and thematic groupings guide visitors organically, making exploration feel fluid and intentional.

We also prioritized accessibility and immersion: offering high-resolution images, contextual information, and narratives that bring the artists, the community, and the New Deal era to life.

Ultimately, we aimed to build not just a website, but a virtual museum – a place where design, storytelling, and structure work together to evoke the contemplative and communal qualities of viewing art in person.

What are you able to accomplish in terms of a museum experience online that you are not able to physically and how did you capitalize on those opportunities?

The online format opened opportunities for interaction, exploration, and depth that go beyond what’s possible in a physical museum. We were able to create a more participatory experience – one where visitors aren’t just viewing art, but actively engaging with it.

Interactivity became central. We introduced prompts that guide users to look more closely, encouraging slow, intentional viewing rather than passive scrolling. The ability to magnify artworks invites a kind of intimacy rarely possible in person – viewers can zoom into brushstrokes, textures, and details that might otherwise go unnoticed.

We also used hyperlinks to connect related works, artists, themes, and other online resources, allowing visitors to follow threads of interest. This networked approach mirrors how people think and learn online, turning the museum into an open web of discovery rather than a linear tour.

The virtual museum also lets visitors filter and search the collection, curate their own paths, or explore groupings by topic or era. This personalization – the ability to shape one’s own museum experience – is something physical galleries can’t easily replicate.

In essence, the virtual museum allowed us to blend storytelling and interactivity in ways that expand both access and engagement – transforming viewing into active participation and making the Gallup collection a living, evolving resource.

What best practices and latest trends in web design did you use? How did you keep the virtual museum on the cutting edge?

We followed core web design best practices focused on clarity, accessibility, and storytelling. Clean layouts, generous white space, and balanced typography create a calm, structured experience that keeps the art at the center.

We used responsive, modular design so the museum adapts seamlessly across devices and can grow with new “rooms” and exhibitions. Subtle interactivity, guided-looking prompts, and smooth navigation reflect current trends in user-centered digital storytelling.

By combining clean, minimal design with strong usability and accessibility, we created a virtual museum experience that feels both timeless and forward-looking.

Click to play screen-recording.

What did you learn during evaluation and user-testing that was surprising or unexpected? How did you incorporate those learnings into the design?

One of the most surprising insights from user testing was that visitors did not prefer video format for viewing artworks and exhibits. They wanted to move at their own pace, explore selectively, and control how much information they consumed.

We responded by creating web pages with short, digestible content blocks, expandable text, and guided-looking prompts instead of long-form video.

We also learned that users value a sense of orientation online, so we refined wayfinding and page structure to make navigation clear and consistent throughout the museum.

How did you approach the task of developing an online experience for a broad public and different audiences?

We designed the virtual museum to be welcoming and intuitive for a broad public, from casual art enthusiasts to scholars and researchers. Early in the design process, we coined the guiding principle that “anyone from 8 years old to 80” should be able to use the site.

We used plain, inviting language so visitors can choose how deeply they want to engage. Search tools, thematic groupings, and interactive prompts allow people with different interests or backgrounds to find meaningful connections.

The site also follows accessibility best practices and responsive design standards to ensure everyone (regardless of device, ability, or familiarity with art) can explore comfortably.

By combining clear structure with flexible discovery, we created an experience that meets people where they are and invites them to explore on their own terms.

DIY Exhibit: How did you address engaging users in content creation within a learning context? How did you meet expectations for a digital design/curation experience while centering discussion and exchange of ideas?

For DIY Exhibits, we focused on making content creation intuitive, fun, and educational. Visitors can curate their own mini-exhibits by selecting works, adding descriptions, and arranging them in digital “rooms,” which encourages active engagement with the collection.

At the same time, we ensured the interface met expectations for a digital design experience – clean, responsive, and easy to navigate – so the process of curation felt natural and empowering. By combining structured guidance with creative freedom, the DIY Exhibit centers both learning and the exchange of ideas.

What are the key takeaways from all of this?

Through our experience with the Gallup New Deal Art Virtual Museum, we’ve found that starting with a virtual museum can be a powerful strategy for future museum owners and managers. It allows testing and rapid-prototyping of navigation, storytelling, and engagement strategies before committing to physical space. By revealing what resonates with visitors, which connections matter most, and how to structure exhibits effectively, this approach can make any future physical museum more informed, efficient, and centered on the visitor experience.

To summarize our key takeaways:

Digital-first approach expands access: anyone, anywhere, can explore the collection, regardless of physical location or mobility.
Flexible, layered learning: visitors can choose their own pace, dive deeper with expandable text, or skim for highlights.
Guided exploration and interactivity: prompts, magnification, and curated pathways encourage active engagement with the art.
Structure and design matter: white space, spatial hierarchy, and modular layouts create a sense of place and ease of navigation.
Dynamic content and connections: hyperlinks, search, filters, and thematic groupings allow users to discover relationships across the collection.
DIY and user-generated content: tools for curating mini-exhibits foster reflection, discussion, and creativity.
Universal usability: designed for “anyone from 8 to 80” with accessibility and responsive design in mind.

Kyle Gulau and Kevin Wolf of Percent Invisible (https://www.percentinvisible.com/).

Jun

Lessons from the New Deal: Social Justice as Economic Development

“In these days of difficulty, we Americans everywhere must and shall choose the path of social
justice—the only path that will lead us to a permanent bettering of our civilization, the path that
our children must tread and their children must tread, the path of faith, the path of hope and
the path of love toward our fellow man.”

So concluded the future President Franklin Delano Roosevelt at the end of a campaign speech
on the economy made in Detroit, MI on October 2, 1932. With the unemployment rate in the
United States nearing 25%, Roosevelt pitched social justice as a strategy for economic recovery
and growth. He argued for the federal government’s essential role in addressing the root causes
of poverty and creating the conditions necessary for shared prosperity. He spoke about public
health access, workers’ compensation insurance, and social security programs as systemic
interventions to restore fairness and morality to the economy and create a rising tide that lifts
all boats.

Roosevelt’s collectivist philosophy earned him the label of “radical” in some circles, but the New Deal was hugely popular and the stability and advances it instituted in terms of personal and national economic security, labor organizing, home ownership, infrastructure and utilities development, and national parks, were widespread and have proven to be long-lasting.

The arts were central to the New Deal’s social justice-oriented approach to economic development. The New Deal put artists to work creating murals, paintings, and other public art
to fill post offices, schools, and government buildings across the country. Federal arts programs
combined unemployment relief for the creative sector with increased access to the arts and
improved quality of life. Importantly, the programs involved a diversity of artists working in a
variety of media, styles, and customs—although the programs did not afford artists of color all
the same opportunities as their white counterparts. New Deal programs also paid artists
fairly— estimated at $3,000 – $4,000 per month in today’s money (25% above New Mexico’s
2023 median income).

The Gallup New Deal Art Virtual Museum, launched by gallupARTS on March 29, 2025, explores the artistic legacy of the New Deal. The pieces in Gallup and McKinley County’s New Deal art collection on display in the Virtual Museum are as meaningful today as they were at the time of their making almost 100 years ago: they remind us of our history, provide insights into the evolution of artistic and cultural traditions, and raise issues of representation and cross-cultural exchange. By bringing them to light, the Virtual Museum continues the work of the New Deal, leveraging public art to advance social justice and the empathy and understanding it requires. The Museum also considers the value of artists’ labor, provoking reflection on matters of systemic exploitation and equity within the current regional arts market.

Perhaps because it promotes historical memory, the Virtual Museum is now a casualty of the
current administration’s drastic overhaul of the federal government—one that seeks to reverse
the ethos of the New Deal. In fact, President Trump is now proposing to eliminate essentially all
federal support for arts and culture. gallupARTS is hardly immune in this regard. Funding
committed to the Virtual Museum by the National Endowment for the Humanities since 2018
was abruptly and unlawfully terminated by DOGE at the beginning of April.

But, to paraphrase FDR, never fear. gallupARTS’ commitment to stewarding our community’s
artistic heritage and to strengthening our society and economy by supporting local artists and
promoting the arts remains unabated.

May

“Faces of Tradition” by Tasha N.

Tasha N. guest-curated “Faces of Tradition” at ART123 Gallery in May 2024. The following is a blog post written by her to commemorate the show.

Some things in life just go together. Like peanut butter and jelly. Salt and pepper. Things like that. For me it’s my mom and beads. My entire life I’ve watched her make so many beautiful things out of them. Miniscule pieces of glass, shells and stone insignificant on their own but somehow she managed to weave them together to create intricate pieces of art. The hours, the talent and dedication she had to create these works has always been a source of pride for me. Every new thing she makes I love saying, “My mom made that!” As a kid, seeing her creativity shine through her beadwork pushed me to find the same kind of passion which opened different avenues of interests that have followed me into adulthood. Now today many of my own creative projects continue to be inspired by her and her art. The latest project being my guest curatorship at ART123, where I was given the opportunity to curate my own show, titled “Faces of Tradition”.

The show is very special to me because it’s an art show about a social justice theme I’m very passionate about: economic exploitation of Native artists. The show has different components that represent different parts of the social justice theme. There is a mural, painted portraits, a photo wall and artwork by several different artists. All of which we will explore in this post but first let’s talk about why I chose economic exploitation as my theme.

I grew up in a family of artisans and have seen first hand the disparity set between Native artists and Gallup’s Native arts industry and I was, for a short time, even a part of it. Sometimes I think about the irony of talking about these disparities because some may get the impression I don’t like Gallup when the exact opposite is true. I love this place. I was born here. It’s a part of my history and a part of who I am. But just as a child requires admonishment from a parent to grow and do better, I feel that Gallup needs to hear difficult truths in order to grow also.

Gallup has always had a notorious reputation for being a bordertown, something that even today is quite hard to shake. But Gallup has successfully called itself the “Indian Capital of the World” because of its proximity to various native communities and as so, it’s been able to build a lucrative economy based on its ease of access to native handcrafted/made art. It loves to boast about its proximity to native communities and that it’s “home to over 1,000 native american artisans” but in reality there are only a few places where someone can buy directly from a native artist. Gallup trading posts, private businesses and galleries are often muddled with brokers who have taken advantage of native artists through shortchanging/price gouging, counterfeiting and monopolizing the native arts and crafts industry. They’ve created an environment of anonymity and have perpetuated the idea that Native American art remains single faceted. All of which harms native artists, their livelihoods and undermines their creative efforts and essentially robs them of self-representation.

For this guest curator show I wanted to create a body of work that honors native artists and brings back the humanity that has been eroded by capitalism. It’s important to me that the community and visitors remember that behind Gallup’s success are real people who at the end of the day are fathers, mothers, grandmothers, etc… providing for their families. This show is my attempt at giving credit where it is rightly due and perhaps, rebuild a sense of transparency.

The Mural

This installation features my mother’s hands as the focal point, speaking to the legacy of hard work instilled by the matriarchs of Navajo families. Their hands built the local economy and in them we see strength, resiliency, creativity and entrepreneurship. It is through their hands that we prosper. This mural is a homage to the craftspeople and artisans in my family, and many other families, who have carried on and expanded traditions. It is especially a tribute to Diné (Navajo) women, who work all day, every day, from dawn until dusk to create all they can for us, their children, and their families. In my experience, the hard work put in by artists is more valued than the individual who created the work. Gallup exists because we, artists and craftspeople, exist. This mural reminds us, our community, and visitors of the essence of who we are.

Painted Portraits

In the show I painted seven portraits of artists that have worked in the area and that I know personally. I’ve always felt that portraiture is an intimate gesture. As you work and study the face of the subject you are having a sort of conversation with each brush stroke. Who is this person? What have they felt? Who are they to me? What do I want others to see about them? And is this portrait accurate? Painting these portraits was an act of reflection and with every curve and wrinkle I was reminded of how appreciative I am for the people in these portraits. The portraits include my partner, Shandiin DeGroat, a mixed-media artist. His mother, Elsie A. a silversmith. His grandmother, Ruth A. a weaver. His aunt, Cathy W., a silversmith. My little brother, Armond Antonio a painter. My grandfather, Edison Yazzie, a silversmith and my mother, Shelia N., a bead artist.

I wanted these portraits to serve as a reminder that behind works of art are individuals who have used their life stories, their creativity and talent to shape them and share with the world. That when we buy a painting, a silver piece of jewelry or drawing it’s not just the material object we are investing in but the legacy and livelihood of the artist who made it. It’s important for us as consumers to be conscious of what we are supporting.

The Photo Wall

On the east wall of the gallery I created a photo wall that includes mixed media portraits of my family I created years ago, personal photos of my family and photos of artist friends and acquaintances I’ve met throughout the years. The aim I had with this photo wall was to express how vibrant and extensive the artistic community is beyond what we are presented with at trading posts and shops.

I’ve often thought about how superficial the thought behind Native American art can be especially in a town that presents itself as Gallup does. It’s no question that the work in these shops are impressive and full of rich history but the idea that Native American artwork can be contemporary artworks has yet to be embraced. Gallup’s economy is dependent on the idea that Native American artwork is Native artwork not because of the Native artist who made it but of the depictions in the work such as cowboys in a vast desert scene or portraits of stoic native men. Artwork which may be aesthetic and full of talent on the artists behalf but continue to leave much out.

Native artists are much more than what is presented at the surface in Gallup; there’s an entire community of artists who have found their niche within contemporary or traditional arts. The photo wall is a testament to the fact that we have silversmiths, textile artists, photographers, digital artists, mixed-media artists, sculpture artists, painters, watercolorists, abstract artists, etc… By interweaving personal photos, photos of artists and my own artwork I wanted to show the magnitude of the community I’ve been able to build through art and art that is representative of my own story. We don’t need a re-telling of our stories to be successful and I hope that it can also serve as an encouragement to aspiring artists to follow whatever dreams they may have.

Featured Artists

For this show it was an important aspect to include other artists into this opportunity and to have different types of artistry represented. Each artist has a unique style all their own and ties back into the idea that our stories and culture and how we present them are our own. I invited seven artists to present their own work next to the portrait I created of them and four of them took me up on that offer. I then invited four additional artists to feature their artwork throughout the show to bring it together. These artists include:

Valencia Edgewater-Chapito she is a member of the Dine tribe and was born in Gallup and graduated from Gallup High School. She currently lives in the Tse-Yah-Toh community. Her art has always been in her heart and has been making art for as long she can remember. She has fond memories of sitting with her sisters at night, creating in the soft yellow glow of a kerosene lamp and listening to the radio, munching on Doritos, pickles, and Pepsi. She would like to encourage everyone to make art and that there are so many ways to “make” like sewing, making music, painting, sculpting, writing, weaving, carving, and drawing.

Shelia N. is a bead artist from Ramah, New Mexico. She creates beaded sculptures, bead embroidered jewelry, encaustic art, mixed-media, and pottery etching. She is currently a full-time artist and creates work for select clientele. Her work is inspired by the things she loves–her family and faith. She has participated in a variety of group shows and public art installations in Gallup. You can find more of her work on Instagram at @muddyhilldesigns

Orin Nez is a contemporary Native artist working in the Gallup area. Cathy W. is a working silversmith from Superman Canyon, New Mexico.

Peyton Alex is a self-taught graphic artist and second generation silversmith from Dilkon, Arizona, whose journey from traditional painting to digital art was catalyzed by the challenges of COVID-19 pandemic. Peyton creates vibrant digital artworks that highlight the dynamic spirit of female Native skaters. Inspired by her involvement with the Diné Skate Garden Project, Peyton’s work not only showcases the beauty and strength of Native culture but also provides representation that they felt was lacking during their own upbringing. Their pieces often feature traditional attire and elements from their upbringing, such as the mesas of their homeland and traditional aspects to inspire and empower the next generation. Peyton actively works with the Diné Skate Garden Project, teaching and providing skateboards and helmets to youth in remote locations on the reservation. THeir art and efforts aim to offer temporary escapes and foster a sense of freedom and resilience among the youth. Find Peyton on Instagram @_peekomeeko

Armond Antonio is a cattleman and accomplished painter and mixed-media artist from Pintado and Manuelito Canyon, New Mexico. His work has been featured across the U.S. and paints from his Gallup based studio or en plein air on his travels. He is known for his painterly style, his portraiture and New Mexico landscapes. You can find more of his work on Instagram or Facebook @ArmondAntonioStudioArts

Douglas Yazzie is a watercolorist and painter from Chinle, Arizona. Douglas creates vibrant and detailed paintings inspired by the landscape, culture and history of his hometown. His watercolor paintings are widely collected and each one shows his impressive skill to manipulate watercolor pigments to create rich and mesmerizing landscape scenes. He can be found in many different art markets around Diné Bikéyah and surrounding cities. His wife is also an accomplished beadwork artist who often travels with him as he sells his artwork.

Shandiin DeGroat is a self-taught Diné (Navajo) painter and mixed-media artist born and raised in Kinłitsosinil (Churchrock), New Mexico. He likes to combine his passion for skateboarding/graffiti culture with his Navajo background by merging traditional motifs and Navajo storytelling into his artwork. He carefully balances subject matter with bold colors and intricate linework. He is drawn to using acrylic paints on canvas or paper and is known for his incredible skill of using a script brush to create his line work. For works on paper he enjoys combining different types of mediums like acrylic, watercolor, color pencil, spray paint, markers, and oil pastels. He has also been learning about printmaking and has been experimenting with monotypes and gel plates and has plans to learn silversmithing.

This year he curated a show titled, “Taking Flight” in Albuquerque in January. He was also a featured artist in a Native skateboard deck themed art show, PIVOT at Cahokia in Phoenix, Arizona. He was chosen to participate in Diné College’s Native American Arts Market and the Santa Fe Indian Arts Market (SWAIA) in late September for the first time. He was also recently selected to participate in Harwood Art Center’s emerging artist group show, SURFACE opening in early June. Find him on Instagram @gahsho_boi_3000

Importance

I’ve touched on a lot of things here but the next question is what do we do with this information? What’s the point? It’s not possible to change centuries of thoughts and actions of an entire city overnight. You’re right and that’s not the goal.

There’s a lot to digest in this topic and not everybody will have the same conclusion or opinion and that’s fine. What’s important is how we use this information after we’ve heard it. My goal is to spread awareness of how the economic exploitation, perceived or un-perceived, through trading posts and shops in Gallup are harmful to Native artists. And the need to reevaluate how we as consumers and Native artists interact with such entities. I want to create conversations about how we as a community can support local native artists with their entrepreneurship and self-reliance so that they retain control of their representation. Gallup is my home and has so much potential to create better working relationships with its Native community.

Thank You

Special thank you to gallupARTS for this opportunity and to New Mexico Arts for providing the funding so that artists like myself can share our perspectives the best way we know how: through our art. Thank you to my mom for being a constant source of support and inspiration to me as I make my way through this life. Thank you to my partner Shandiin for the endless encouragement, artistic feedback, guidance and technical support. Thank you to Jacob Malone for staying up all hours with us and helping install the show. Thank you to all the featured artists (Orin Nez, Cathy W., Armond Antonio, Douglas Yazzie, Valencia Chapito, and Peyton) for being so enthusiastic about being a part of the show! Your work was the perfect touch! Thank you to all my art friends and patrons. You are my inspiration to keep dreaming bigger!

Sep

Residency Reflections by Meek Watchman

Editor’s Preface: Diné aerialist and poet Meek Watchman was gallupARTS’ summer 2022 Social Justice Creative-in-Residence. Her residency entailed researching and writing a youth development-focused Indigenous social circus curriculum. It encompassed an 8-week intensive course, a half-day workshop, a youth performance, an artist talk, and an aerial arts demonstration. It culminated in a published curriculum. Upon the conclusion of her residency, we asked Meek to share her reflections. Here they are.

This is my third blog post draft. The first draft was babble, and the second draft I didn’t like what I wrote. And here we are at three. I’ve been thinking for weeks about what I want to write and share about my experience working as the Creative-in-Residence for gallupARTS. Initially, I wrote about reflection. Then I wrote about the joy and healing that comes with circus. Now, I realize I am putting way too much pressure on myself for this blog post.

These words should be fun, joyous and merry. And I want them to be. But today, nearing the end of September, I am exhausted beyond recognition. I had a great summer doing many things I’ve never done before and was in constant commute. This week I can finally rest to write these words.

I am tired because I had the best summer—teaching aerials twice a week in downtown Gallup, eating well and enjoying the off days with my son. Every week since May has had a detailed schedule, and I am thankful for it. When I wasn’t teaching or researching, my son and I were on the road, swimming, painting in the sun and soaking in all the bliss of a hot summer.

Considering exhaustion, I will keep this brief. It feels like the entire summer flashed before my eyes—yesterday was April, tomorrow will be Christmas. What I am saying is, it’s very simple to lose track of time when you’re working very hard. I didn’t realize how much we all gave until space opened and I no longer had to travel to Gallup three times a week from Window Rock. And I no longer had to plan every day of the week to revolve around my residency.
I am not complaining by any means, I am writing this to remind myself of all that I was given—all that I was awarded—with the deep intent that I would grow and earn the feeling of accomplishment and success in a short amount of time. And as I continue to reflect on the past three months with gallupARTS, even with the unexpected (COVID, family emergencies and mothering of a toddler), this summer was the best that I could have ever asked for. From the start of June until the end of August, every week was meaningful and filled with exciting challenges.

Among the many highlights during the residency, the most notable is my student, Jade Bowman. Initially, I proposed to work with two youth. Unfortunately, that did not go as planned and I recruited only one student, Jade. As time unraveled, I realized the absence of one student afforded another and so Jade became present in all the times marked available for aerial classes at ART123 for eight whole weeks. I am grateful it worked out this was, because Jade worked very hard and used all her time in the best way possible.

Overall, I am proud of all involved in the residency, especially Jade. This type of creative work is not possible without the support of loved ones and those willing to stand with you, alongside your creations—no matter the outcome. This outcome was earned for all, and I am thankful for everything. Please enjoy photos captured throughout the duration of the residency. Again, ahe’hee gallupARTS for this tremendous opportunity that has catapulted my artistic career and endeavors.

Timeline of Residency Through Photos:

First day of aerial rig set up at ART123 (Photos 1 and 2)
Jade in weekly classes on the silk and lyra (Photos 3, 4, 5,6)
Silk workshop with student Love and assistant instructor Jade (Photos 7, 8, 9, 10, Photos by: Jordan Bowman)
Jade’s Performance (Photos 11, 12)
B&W photo of Jade on silk and lyra (Photos 13, 14, 15, 16 Photos by: Meek Watchman)

Gallery Notice : Images have either not been selected or couldn't be found

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