Browse Items (2 total)
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Dakȟóta Ancestors
The mural Dakȟóta Ancestors by Danielle SeeWalker is a representation of Native American culture and heritage. The composition of the mural is centered around two female figures who represent the ancestors of the Dakota people. The side profiles of the women are depicted from their upper chest to head. This emphasizes how the women are turned to face each other, and most likely gazing at each other. Surrounding them are various Dakota floral designs. When the mural is split vertically, it reveals a symmetrical structure, with a large floral piece at the center and each woman positioned on opposite sides. Another smaller floral design is placed next to each figure, balancing the overall composition. Furthermore, each floral design is vertically symmetrical, contributing to the harmony of the mural.
The color palette in the mural is bold and highly saturated utilizing a vibrant array of colors. SeeWalker incorporates a large spectrum of colors, from the bright green of the older woman’s garment to the grey of her hair. The younger woman is shown in a purple top with black hair. The surrounding floral designs feature a variety of bright colors, each unique in tone, which highlights their individuality. By choosing bold, rich colors rather than the stereotypical palette often associated with Native American art, SeeWalker conveys a sense of strength and pride in the heritage of the Dakhota people. There is no shading in this mural. This deliberate absence of shading might serve to strengthen the visual impact of the piece, allowing each section to stand out. Each color is separated by strong black outlines, which help define the individual elements and add clarity to the composition.In terms of line, SeeWalker uses thick black lines throughout the mural, with a predominance of curved shapes. Most of the floral elements are composed of curves that converge to form pointed tips, with circles at the center of each flower. The women themselves are framed by curved lines, and their braided hair is depicted with small, repetitive curves that flow inward to the middle floral piece. This curving pattern guides the viewer’s eye through the mural, creating a sense of movement and unity. The only straight lines in the mural appear in the earrings of the figures, which are triangular in shape and filled with four smaller white triangles, adding a sharp contrast to the other organic forms. Within the earrings, there are lines of various colors that serve as a background to the white triangles. Additionally, it is also important to note the absence of some lines. There are no lines to define the features of the women’s faces.
Texture is minimal in the mural, as the focus is placed on the clarity of shapes and the relationship between the figures and the surrounding elements. The smooth surface of the brick wall allows the paint to appear flat and uninterrupted. However, the patterned circles on the women’s garments may suggest beading or decorative embellishment, subtly introducing a sense of texture through design rather than surface variation. Regarding space, SeeWalker uses the negative space around the women as a background to highlight the main focus, which is the ancestral women and the floral. The dark gray background allows the colors of the mural to pop out. Additionally, there is no overlapping between the women and the florals, which keeps each element distinct and separate, further highlighting the importance for both the figures and the floral designs. Overall, the mural's composition, color, line, and space work well to convey a sense of ancestral and cultural pride, inviting viewers to reflect on the connection between the Dakota people and their heritage.
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Coming Home
Coming Home is a vibrant and profoundly symbolic mural, as it explores the intricacies of immigration and the emotional voyage it entails for every individual involved. It illustrates two women from distinct cultures and ethnicities who are visually interconnected but divided by a symbolic line. An American woman representing established immigrant groups pauses in her warmly lit living room to observe through a telescope. Embellished with a log cabin quilt design variant, this environment represents stability and household tradition. Dressed in a vibrant yellow dress and bearing a suitcase, a younger woman from the Middle East enters an expansive blue space on the right, symbolizing the challenges and opportunities of new beginnings. Her background showcases a ten-pointed Islamic star, symbolic of Islamic art, representing her cultural origin. The mural is divided into two halves, each expressing a unique cultural and emotional place. The telescope bridges the division, a diagonal line that directs the viewer’s gaze throughout the mural, linking the two women visually and thematically. The positioning of the figures—one stationary and anchored in her surroundings, the other in motion—highlights difference while establishing balance, as they reflect each other’s dimensions and relevance. The geometric patterns behind the women offer structure and repetition, harmonizing with the organic curves of the figures and their attire. The color scheme enriches the narrative. Soft purples and yellows on the left imply warmth, nostalgia, and tradition. Conversely, cool blues adorn the right side, representing the unknown and the enormous possibilities of the immigrant experience. The vivid yellow of the traveling woman’s outfit symbolizes hope and optimism, but the complementary purple in the settled woman’s environment signifies reflection and stability. These complementary colors generate visual harmony, representing the potential for mutual enrichment via cultural interchange. The painting combines various straight and curved lines to direct the viewer's attention and foster dynamic interactions. The geometric designs—linear and angular on the left, complex and star-shaped on the right—represent the differing cultural heritages of the two women. The women's flowing hair and garment lines soften the composition, giving movement and vitality. The diagonal line of the telescope serves as a focal point, physically and thematically linking the two women, while the birds in the upper right corner direct the viewer’s gaze upward, suggesting independence and migration. The telescope indicates a purposeful endeavor to connect and understand beyond cultural boundaries, but the complementing colors of the women's attire imply harmony and the prospect of cultural synergy. The Arabic word "home" is engraved twice, emphasizing the common human desire for belonging. The depictions of Lady Liberty's head anchor the greater backdrop of immigration and the principles of liberty and opportunity, and the flock of birds in flight represents migration and aspiration.