9.5' x 15'
paints history and ideas, often by blending realistic
portraits into an ideological landscape.
He paints large
so that viewers will have to look closely at this moment of
history, look into the faces of those whose life and fate he
My goal in painting has always been to create art on a scale
so epic, with themes so urgent that I can both portray and
alter history. One
viewer, Dr. Calsoyas, experienced what I hope for in response
to my paintings. He spoke when interviewed about
in the Kansas City Star article by Joe Popper :
was astonished by his work.
I was literally in tears.
I'd never seen such an insightful depiction of what
Native Americans actually experienced as they confronted
European culture. The
life-size photographic realism is understated and
dignified. ...and that makes it all the more jarring because
Wayne has a way of juxtaposing some very disturbing images.
writer wrote about my one man retrospective exhibit:
"Artists paints injustice, no matter what its
color." She, an African American Woman, was amazed that I
paint not merely Native American issues, but portray concern
for the human condition, issues of all races. I cast a
critical and inquiring eye at history, and at mankind in my
choose people, dramas or moments of history that need to be
looked at. Hopefully,
my dreamscapes will let the viewer feel the questions history
poses, and sense the humanity or inhumanity of the actors in
I paint portraits of Native Americans, portrayed
realistically, as they were and are, in quiet dignity.
feel I have important things to say, and so choose a
monumental scale for many of my paintings. I
paint in oil on canvas or linen, so these paintings will last.
I offer a unique perspective in style and subject
matter. I am half Native American my dad was full blooded
Euchee) which informs my perspective, yet I paint with full
consciousness and appreciation of the European tradition of
the great masters. I
feel I am a messenger of my time. I paint history, often
forgotten moments of history, lasting issues, fate dramas,
and scenes. I express my visions in narrative
statements, in realistic style yet like a parable, to tease
I feel I am a messenger in my time. I paint history, often
forgotten moments, people of history, lasting issues, and fate
portraits occupy metaphysical landscapes in my paintings.
The realism of each figure demands attention while the
configuration of people demands thought.
Why are these people gathered here?
What bones are these?
By juxtaposing historically accurate and often familiar
portraits or scenes, I ask the viewer to make an emotional and
intellectual connection, which hopefully lifts the painting
into the metaphysical realm.
I paint people, in dramas of their ideas, and history.
hope is that by combining such people or history into one
painting that I can create a kind of critical mass in the
viewer so that the emotional and intellectual impact of the
painting will reach out powerfully and break through our
consciousness. The painting may condense or collect our
scattered, familiar images, so that they make sense in a new
way of seeing history
or humanity, or fate. My
paintings hopefully serve as a catalyst or thought; they offer
a parable prompting the viewer to rethink the scene or the
issue portrayed, whether it is Manifest Destiny, Custer's
fate, Civil Rights, medical care or genocide.
continue to paint and to exhibit eagerly. I paint individual
portraits, historic and contemporary, as well as portraits
within epic paintings. I
am eager to speak about my art at exhibits, conferences,
public art projects, artist in residencies, in conferences and
educational forums. I have been nominated for "Who's
Who in America" and "Contemporary Who's
have a body of work, painted alone in my studio. These
I painted because I felt they needed to be painted, not
because they were commissioned.
Quest for Freedom
(9ft x 30ft.
Oil on canvas) will be on exhibit at the LBJ Presidential
Library and Museum in Austin Texas, fall 2002, in conjunction
with a Smithsonian Museum exhibit of photos, of the civil
Ceremony have been exhibited at
the State Capitol of Kansas, Haskell Indian Nations University
and the University of Kansas, and in numerous one man exhibits
of my work. In
Guam my art led to cultural talks of similar
history of indigenous peoples.
artist in residencies, I
work with students and communities. The epic size paintings
Dream for Harmony, and
visible evidence of the creativity these collaborations
produced (1996-2001). A
painting of the Underground Railroad is planned. Art serves as
a catalyst for cultural transformation and new consciousness
of their history, as they research and paint it in epic art.
an artist/historian I mine history and faces from research
libraries, forgotten texts, personal interviews, albums, and
visits to sites. These inspire my imagination & inform my