The Contemporary Art of Nani Chacon
Born in Gallup, New Mexico and raised in Chinli, Arizona and Corrales, New Mexico, Nanibah “Nani” Chacon is a contemporary Navajo and Chicana artist. Having gotten her start at the age of 16 in the world of graffiti, her art is a complex commentary on Native, Chicana, and American Culture (nanichacon.com). Through the use of Navajo motifs surrounding depictions of Native female characters, Nani bridges the gap between traditional and contemporary art styles.
Chacon’s ten years of experience with graffiti as a medium lent influences to her artistic style and preferred canvas—acrylic or oil paints on wood or canvases, or massive murals that grace walls in New Mexico and Arizona. Her work includes the use of bright colors and 1940’s and 1950’s illustrative pinup-style females to convey themes of “feminism, sexuality, power, culture, traditionalism, and modernism” (nativolodge.com). It further “challenges viewers to reconsider familiar imagery” by juxtaposing Native females with traditional American art styles (Fourwindsgallery.com). In addition to making a name for herself in the world of graffiti, Chacon’s accomplishments include a Bachelor’s in Art Education from the University of New Mexico, as well as an award of second place in Oil Painting at the Santa Fe Indian Market (Nativolodge.com). Chacon currently teaches art in Albuquerque, New Mexico, and exhibits her art all across the United States. It is through this background that Nani brings together traditional imagery and themes with contemporary styles.
Originally introduced to Navajo weaving styles by her grandmother who was a rug dealer, Chacon uses step-like geometric patterns and what she refers to as “Navajo design archetypes” (Barrow, p.16). She describes her work as an “exploration of integrating Dine [Navajo] philosophy and creation stories within the context of contemporary culture” (brokenboxespodcast.com). Chacon, inspired by the rugs her grandmother introduced her to, connects traditional art styles of Navajo weavers to her contemporary work by examining “symbols within textile patterns of Dine rugs and using them to create a symbolic narration for the characters within my work” (brokenboxespodcast.com). The use of these motifs allows Chacon to explore traditional Dine concepts such as “dieties, nature, women, animals, and creation” (brokenboxespodcast.com).
One of the central tenets of Navajo philosophy is the concept of “change, transformation, and renewal” (Berlo and Phillips, p. 77), and Chacon explores these themes in her art. Like the Navajo weavers throughout history, who have incorporated modern materials into their work since the 17th century and adapted to the tastes of the modern market throughout the 19th century (Berlo and Phillips, p. 75), Nani incorporates modern themes, imagery, and mediums into her work, while telling a story of Native identity. Berlo and Phillips state that weaving was considered a “paradigm for womanhood”, and a “means for creating beauty and projecting it into the world” (Berlo and Phillips, p. 77). Chacon embraces these traditional ideas of Navajo weavers by incorporating female characters in conjunction with patterns often found on second and third phase chief’s blankets. While she does acknowledge that the “composition of these patterns comes basically as a narrative from the weaver, it’s done in a subconscious format”, which she argues is a “reflection of identity” (Barrow, p.16). The patterns that overlay her female characters are strongly reminiscent of the “displays of graphic boldness and simplicity, conjoining stripes, cross patters, and diamond forms” (Berlo and Phillips, p. 77) of Navajo weavers.
Her works often include traditional Navajo storytelling themes, such as Changing Woman, creation, and blue birds. One excellent example of this is her mural displayed on the walls of a room at the Nativo Lodge, as a part of their Artist Room series. The mural is titled, “Creation at Dawn”, and incorporates several Navajo themes included in a creation story. The central focus of the mural is First Woman or Changing Woman, both of whom hold an important role in Navajo creation stories. Both of these women either “gave birth, or conceived at dawn, thus giving life and lineage to the world as we know it” (Nativolodge.com). Chacon explains that she incorporated the chief’s blanket design to “represent the First Man or The Father, who merged with woman to cause creation” (Nativolodge.com). Finally, because blue birds represent a new day or new beginning in Navajo cosmology, they are depicted flying forth from Changing Woman, representing that creation.
Chacon stands apart as an indigenous artist who expertly integrates traditional ideologies with a modern style. The importance of this lies in creating art, which can be appreciated by non-Native and Native viewers alike. Her ability to tell the stories of her people in a contemporary manner opens a dialogue between all of her viewers; a dialogue regarding traditional values contrasted with modern issues faced by Native people today.
Works Cited
"Artist Room by Nanibah Chacon." Nativo Lodge. N.p., 16 Sept. 2015. Web. 17 Apr. 2017.
"Interview with Nanibah." Broken Boxes Podcast. N.p., n.d. Web. 18 Apr. 2017.
Barrow, Lisa. "ABQ Makers: Nani Chacon Talks Murals, Tradition, and Impermanence." ABQ Free Press. ISSUU, 6 Oct. 2015. Web. 17 Apr. 2017. <https://issuu.com/abqfreepress/docs/015>.
"Nanibah Chacon Navajo Painting." www.fourwindsgallery.com. N.p., n.d. Web. 19 Apr. 2017.
Berlo, Janet Catherine, and Ruth B. Phillips. Native North American art. 2nd ed. NY, NY: Oxford U Press, 2015. Print.