The Return of the Force, Part 5: Endings Are Beginnings

Return of the Force Part 5

The Return of the Force, Part 5: Endings Are Beginnings

This post is the fifth in a series that showcases Star Wars art by Native artists that were included in a recent exhibition entitled The Return of the Force at the Tempe Center for the Arts in Tempe, Arizona. These stories were provided by artist and curator Duane Koyawena (Hopi/Tewa), and Samantha Honanie (Hopi/Diné), volunteer consultant and librarian at the Museum of Northern Arizona in Flagstaff.

Ryan Singer, Diné

 

Rich: We’ve got a few more pieces here, so let’s talk about these other Ryan Singer pieces. Ryan’s work also appears in Part 2.

Sam: Yeah, that piece is in the collection of Tony Thibodeau. It was featured in the first Return of the Force exhibition in Durango, Colorado, and at the museum in Flagstaff. We typically don’t add pieces after an exhibit is already upland running, but the exhibit coincided with the launch of The Mandalorian, and after people saw the character of Grogu, who was unnamed at that point, they really fell in love with the character so this piece was added to the previous exhibition. 

Keith W. Smith, Jr., Diné

Shi Awe’e Grogu
Keith W. Smith, Jr., Diné
Acrylic on canvas

 

 

 

 

 

 

 

 

 

Duane: This piece here is by Keith Smith, Navajo / Diné, one of my favorite painters and a huge Star Wars fan. If you could see all his Star Wars paintings; I mean this guy is just amazing.I love the Navajo women in their shawls and jewelry – so cool! 

Mavasta Honyouti, Hopi

 

Rich: And then we’ve got these wood carvings by Mavasta Honyouti.

Duane: A master carver, Mavasta is a Hopi artist who is also a big Star Wars fan, and we’re very fortunate to be able to include his work in the exhibit. We are showing two pieces that he carved in cottonwood root. On the left is a small wooden plaque featuring a view of the two suns on Tatooine, and on the right, we have a bow guard with a carving of a Mandalorian, similar to the pieces we saw previously from Pat Pruitt. These pieces are also from the Charles King collection.

Jonah Hill, Hopi-Quechan

Grogu’ hoya Bolo Tie
Jonah Hill, Hopi-Quechan
Tufa cast sterling silver
Grogu’ hoya Ring
Jonah Hill, Hopi-Quechan
Tufa cast sterling silver
Grogu’ hoya Pin
Jonah Hill, Hopi-Quechan
Tufa cast sterling silver

Rich: Who created this silver work?

Sam: Jonah Hill is a Hopi-Quechan silversmith who typically utilizes the tufa cast style, which creates the texture we see on these pieces here. He features The Child again, wrapped in a blanket of stars, as well as a Mandalorian helmet highlighted with native symbols.You can also see how he would traditionally set a piece of jewelry like a bolo tie, with the braided leather and the end pieces. If you look closely at the lightsabers on the end pieces, you can see Jonah’s ability to capture really fine details in his work.

Dwayne Manuel, On’k Akimel O’odham (Salt River People)

 

Rich: It looks like the next three pieces are part of a series by Dwayne Manuel.

Duane: Dwayne’s work provides insight into his perspective and some elements from his O’odham culture, but what’s really fascinating are the subjects that he’s chosen to feature. Generally, a lot of artists place an emphasis on characters like the Jedi and Grogu, but Dwayne really took it to the next level by featuring Darth Maul and the evil characters that are part of the dark side. 

As a Phoenix-based educator and advocate for his people, Dwayne tries to create awareness of the continued struggle his people experience as they have to fight for resources, their traditional homelands, and the kinds of things that go along with that. He highlights that in a lot of his art but you can also see the use of traditional native symbolism, including feathers and the devil’s claw plant. The way he blends art and advocacy is very interesting. He’s into metal music too, so you can see that in his work as well.

Darby Raymond-Overstreet, Diné

Redemption
Darby Raymond-Overstreet, Diné
Digital artwork

According to the description at the exhibition, Darby describes her interest in Star Wars. “As a child, the Star Wars films captivated my imagination and inspired me to draw. There were aliens and monsters, robots and spaceships, heroes and villains and powers beyond this world. There was also something familiar in the landscapes and places. 

Today, I’m interested in parallels between the Star Wars storyline and the American Indian Experience. From a Native perspective, it’s easy to see the evil empire mirroring the colonizing forces of North America. Characters like Anakin Skywalker/Darth Vader and Kylo Ren interest me because of their personal battles with anger, hate and suffering [that] become the source of evil perpetuated through the galaxy. Through overcoming these inner demons, balance and order can be restored.” 

This concludes our series on The Return of the Force exhibition, but as the title of Part 5 suggests, endings are often just beginnings….

Catch up with Return of the Force Part 1, Part 2, Part 3 and Part 4

The Return of the Force Part 4: Canvases Take Many Forms!

The Return of the Force part 4 features canvases that take many forms! This is the fourth in a series that showcases Star Wars art by Native artists that were included in a recent exhibition entitled The Return of the Force at the Tempe Center for the Arts in Tempe, Arizona.

These stories were provided by artist and curator Duane Koyawena (Hopi/Tewa), and Samantha Honanie (Hopi/Diné), volunteer consultant and librarian at the Museum of Northern Arizona in Flagstaff.

Jason Garcia & Okuu Pin, Santa Clara Pueblo

The Return of the Force Part 4
Credit: Jason Garcia & Okuu Pin, Santa Clara Pueblo Maxi Big Da Force Traditionally hand-processed clay, mineral pigments, traditional outdoor firing Courtesy of King Galleries

Rich: Now this piece I find really interesting.

Duane: This is a unique style as well. Jason Garcia is a traditional potter. He comes from Santa Clara Pueblo. He’s a Tewa artist who loves Star Wars. His favorite character is Jar Jar Binks, so in this exhibit he featured a piece that shows a child holding a Jar Jar cup. I would say as an artist, like many of these artists, he is very successful and has definitely created a name for himself and his style. This piece belongs to Charles King of King Galleries in Scottsdale, AZ and Santa Fe, New Mexico. Mr. King is a big fan of Jason Garcia. 

Installation by TCA Gallery + Guest Artist

The Return of the Force Part 4
Credit:
Gallery Team at TCA and Randy Kemp’s son
Droid Workshop Installation
3D mixed media with audio

 

Rich:: Wow, this next section wasn’t open during my previous visit. I think the curtain was drawn the last time we met, so this is my first time seeing it, and I love it!

Sam: Yes, they were working on this installation for quite some time when we were putting the exhibition together. It’s actually a collaboration between Tempe Center for the Arts and Randy Kemp’s son, who sourced a bunch of different materials, did some artwork on the different pieces, and put them together to kind of make it look like a workshop, or a junkyard or something like that. The sound elements as well as the different textures and 3D pieces really add a lot to the exhibition.

 

Kim Lohnes, Diné

Credit:
BB-8
Kim Lohnes, Diné
Beadwork on cotton

Rich: Here we have another female artist featured and this piece is incredible.

Sam: Kim Lohnes is a Navajo/Diné artist. You can see that she took a piece of linen and was able to do this immense amount of bead work on this piece featuring BB-8 that is on loan from Tony Thibodeau, director of research and collections at the Museum of Northern Arizona. At one point when Tony was curating the first exhibit back in 2020, he was talking with Randall Wilson, one of the artists that was featured. Randall told Tony, “Hey, my cousin actually did this really cool piece.” So this ended up being added to the first exhibition as well as this one. You can see how Kim uses color and a more abstract look in this design.

At first, you don’t immediately recognize it as BB-8. You just see it as a beautiful piece of bead work and then when you get into it, the character pops out and you can really appreciate her take on BB-8.

Duane Koyawena, Hopi/Tewa

 

Rich: I see we’ve got a few more of your pieces here.


Duane: This one is owned by Dorren Thibodeau, Tony’s son. I made this piece actually at my old job at the Flagstaff Medical Center. I used to work with kids in the behavioral health unit and I would paint stuff periodically. I did this watercolor there and I kept it. I had it on display at an art show in Flagstaff and Doran’s son really admired it. He had asked me how much it was and I asked him how much he had, and he said, “I got like $20”. and then I said “Yes I’m going to remember that.” I let it go for him, but his dad was like, “How much?” I was like, “No, that’s cool.” He really liked it.

The little minis were also 3D-printed by Joe Mastroianni. He got a 3D printer, so we started printing these and just started having some fun decorating them with Hopi pottery designs. The other helmets, including Hopi Trooper and Hopi Mando are a little larger, closer 6 inches tall.

Rich: Of course I’m going to pause right here at Hopi Trooper because this is probably one of my favorite pieces of yours.

Duane: Yeah that one’s owned by Sam’s youngest. He really liked it and would always look at it in my house and then I finally just said “You know what? You can have it.” So he owns that piece now.

Yancey Katoney, Diné

Credits: Yancey Katoney, Diné This Side of Castle Butte Oil on canvas
Yancey Katoney, Diné Flint Rock Oil on masonite

 

 

 

 

 

 

 

 

 

The team at TCA quotes Yancey’s inspiration for The Side of Castle Butte. “I was inspired to use the Castle Butte because it is familiar in my collective memory. The shapes have always been very curious to me. The imagination like our home land could very well be thought of as synonymous. … My mother kept a running theme in my mind of the possibility of what those rocks could be, a movie set, a playground, Godzilla or Mothra coming up out of the earth. Here it is ‘A long time ago in a galaxy far far away…’. These were always running scenarios as we would pass by  these monolithic landmarks against the night sky coming from church revivals as a child.

According to Duane, “Yancey’s Mandalorian, Flint Rock, is about my late friend Adrian Nez who had encouraged me to change some old habits. A true “Naabaahii”, we knew him as Flint Rock.

Michael Toya, Jemez Pueblo

Duane: These are by Mike Toya, a Jemez Pueblo artist and huge Star Wars fan. He has been making Star Wars art for a long time too. In the two examples we have here, Village Protector and Chief Grogu, Mike used acrylic on canvas. I love his take on the character of Grogu, wise beyond his years.

Stay tuned for more examples of Native art in Return of The Force Part 5.

Catch up on The Return of The Force Part 1, Part 2 and Part 3!

The Return of the Force: A Celebration of Native Star Wars Art Part 1

The Return of the Force: A Celebration of Native Star Wars Art

I recently had the pleasure of visiting the Tempe Center for the Arts (TCA) in Tempe, Arizona to see an exhibition of Star Wars art created by contemporary Native artists entitled The Return of the Force. This exhibition ran from January through mid-May, and was the second showing of The Return of the Force, which debuted in 2023 in Durango, Colorado. This exhibition was a follow-up to The Force Is With Our People, held in 2019 at the Museum of Northern Arizona in Flagstaff, and curated by the museum’s ethnographer, Tony Thibodeau.

the return of the force
Credit:
Duane Koyawena and TCA

I’d like to recognize the artists who participated in this exhibition. Thank you for sharing your creativity and your stories. I would also like to acknowledge the Gallery team at TCA for hosting this exhibit, and I want to express my heartfelt thanks to Duane Koyawena (Hopi/Tewa) and Samantha Honanie (Hopi/Diné). I am grateful for your insights and your collaboration in helping me share these stories.

Credit:
Duane Koyawena (Hopi/Tewa), Samantha Honanie (Hopi/Diné) and Hopi R2

When I learned about the exhibit, I reached out to artist and curator Duane Koyawena (Hopi/Tewa), and asked him if he’d tell me about a few of the artists and their work to share with the Rancho Obi-Wan community. At TCA, I met Duane and Samantha Honanie (Hopi/Diné), volunteer consultant and librarian at the Museum of Northern Arizona in Flagstaff. 

As soon as we started exploring the exhibit, I realized that these works, and the rich stories they convey, need to be shared far and wide. So, with their permission, I am thrilled to present this blog series, The Return of the Force: A Celebration of Native Star Wars Art, to provide a virtual tour of the exhibit as led by Duane and Sam. The series will consist of six parts:

The Return of the Force, Part 1: Meet Hopi R2

The Return of the Force, Part 2: From Apache to Zuni 

The Return of the Force, Part 3: Wearable Art, Comic Art & More

The Return of the Force, Part 4: Canvases Take Many Forms

The Return of the Force, Part 5: Endings Are Always Beginnings

The Return of the Force, Part 6: For the Guy Who Has Everything 

Part 1: Meet Hopi R2

Duane Koyawena, Hopi/Tewa, and Joe Mastroianni, Anglo

Rich: Duane, this exhibit is phenomenal. To kick off this virtual tour, can you share the origin story of Hopi R2?

Duane: Yeah, I’ll tell you the story of Hopi R2. In the beginning, the first exhibit was called The Force Is With Our People. They wanted to get a droid for the exhibit, but it was going to be pretty pricey to get a real, functioning one. So, the marketing director of the museum asked her husband who is an engineer from New Jersey, Joe Mastroianni, if he could build one. He did some research and decided, “Yeah, I can build it.”

That’s when he discovered a whole new world—the R2 Builders Club where people build different pieces from all over. So when he decided to build it, he started collecting the parts and asked me if I would paint it. At first, I didn’t really believe that he was actually going to build an R2.

But then I saw the dome when we went over to his house. He said, “Check this out! I got the dome.” And I was like, “Wow, he’s really going to do it.” That’s when I had to buckle down and start coming up with ideas.

The concept I landed on came when he was holding the dome upside down, kind of like a bowl. It reminded me of a Hopi pottery bowl, the way he was carrying it. I asked Joe if he could make the head spin fully without the wires getting tangled. He said, “Yeah, I can do that.” So once I knew it could spin, I added a band around the head.

Then he started giving me all the different panels, and I decided to paint it all like Hopi pottery. A lot of people say he looks like wood, but I was really going for the look of clay pottery. We started putting symbols together, and when he was finished, we brought him to the show. We call him “the first Indigenous droid in the galaxy”.

Rich: Where has Hopi R2 traveled?

Duane: We’ve taken him to the last two shows we’ve had: The Return of the Force in Durango, and the original The Force Is With Our People in Flagstaff.

We’ve also taken him to a lot of schools and a few museums. He’s kind of built a name for himself. Since he’s decorated in Hopi pottery designs, that’s why we call him Hopi R2.

The cool thing is, when we take him around, Joe is able to talk in-depth about the engineering and robotics behind it, which helps inspire kids—whether they’re already interested in that stuff or not. He’s controlled by a PS4 remote and loaded with Arduinos and servos, so Joe definitely worked his magic on the droid.

Rich:
He’s awesome, and he represents exactly what drew me here. At Rancho Obi-Wan, our mission is to inspire through the Force of imagination. Hopi R2 is the perfect example of that. But he’s just one of many.

Stay tuned for more fascinating artwork and stories in Part 2: From Apache to Zuni.