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"Seven years your right, under a flagstone in a quagmire, Without food, without taste, but the thirst you ever torturing, The law of the judges your lesson, and prayer your language; And if you like to return You will be, for a time, a Druid, perhaps." In my work, I honor the styles of handmade traditional art that have been shared across cultures since the beginnings of time. The primary focus of my art is to teach cross-cultural awareness through the elements of art. An equally, if not more important foci is its spiritual, social, and healing aspects. My art is my thoughts and prayers made visible. I never stop searching for meaning in all things. For me, art has been a powerful force for reflecting on the ways of the world. I have found that knowing about the why of art across cultures is more important than extensive culture-specific knowledge. When addressing the deeper meanings of art, my goal is to explore ideas, needs and values that can be found throughout all time and places; to find similarities within the differences, which is where dialogue begins. Since 1980, I have worked with artisans and traditional Elders exploring pluralism within art and education. My mentor and teacher, Mary Ellen Hillaire told me many years ago, "Learn to deal with politics without being political, then you will be truly human." This is a very hard lesson which the political mind cannot understand and has become a mantra behind the spiritual, social and healing aspects of my art. Through the teachings of my Elders, the flagstone in the quagmire which once felt oppressing, has been thrown off, for a time, perhaps forever. A working definition of my work: "Transvangarde was coined to indicate the far more exciting notion of a trans-cultural avant-garde composed of cutting edge artists from all cultures around the planet. The transvangarde denotes a true vanguard of artists who, escaping from the boundary definitions of any single culture operate between and even beyond culture. Transvangarde artists may, thus, be defined as artists working at the cutting edge of their own cultural traditions yet who are still alive to the cross-currents of change and experimentation occurring in the wider context of the contemporary art world at the dawn of this new millennium." – October Gallery, London
Biography: As an artist with both European and Native American ancestry, I found I could embrace both worlds through a palette of beads. I am immersed in the history of beads and the migration of techniques through time and cultures. My bead inlay work combines old world and new world bead inlay methods and design. Along with the Wixarika [Huichol] style of application technique, my work utilizes sacred geometry that transcends time and culture. From my European roots I utilize the ancient guild method of teaching. “Old craft methods, apprenticeship and master classes survived the Industrial Revolution and remain the most effective methods of professional training in the Arts.” - What are the Arts?, Compiler Press, Harry A. Hillman Chartran January 24, 2002. Maureen Nelson has been consciously creating sacred art for over 20 years. She found destiny in what at the time seemed like a happenstance encounter with the Wixaritari in 1990. Little did she know her adventure to join the Gathering of the Eagles in Nambe Pueblo would change her life. Within hours of her arrival, her camp was joined by Mariano Valadez and several other Wixaritari, spending the next few weeks sharing stories and art in what they described as from the beginning times. During those days, Maureen learned about the meaning of art according to the Wixaritari, which overall function is to communicate with the Gods or their ancestors. Each band of color represented a doorway or portal in which the Maraakame (Shaman) travels to the spirit world and in which to return. Traditionally, every action in the creation of this art is a prayer. When Maureen expressed her similarities of experience with the Wixaritari, she was greeted with laughter and told that was because they had met since the beginning times where all is one. At the end of this encampment, Maureen was invited to join the Wixaritari in their homeland which she promised she would do when her household duties with her children were fulfilled. With this time come to fruition, Maureen will rejoin her friends in a journey back to the beginning times where we are all one. * Wixaritari [Huicholes] is the plural form of Wixarika [Huichol] "Sacred geometry expresses in form the unfolding of life from seed to flower to fruit to seed infinitely manifesting, recurring structure.. Geometry out-pictures and holds within it the sacred spiral, which in return creates and recreates geometry.These co-creative forces are the codes for each other and together they are the code for the portal of infinite possibilities. Like the infinite reflections created by two facing mirrors, this geometric system fractaly holds the key of conscious evolution. Unity is the point at which the cogs in a lock and the key harmonise to open and reveal what is inside. Geometry is the visual model of the unity within us and its relationship to our unlimited potential, individually, socially and universally." -Extract from "The Covenant" by Juliet Carter
Country: United States
E-mail: maureen@traditionalartists.org
