Clouds to Water

by Yatika Fields, Cherokee/Creek/Osage

  • Image: 9.5"h x 6"w, Print: 11"h x 7"w
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    Yatika FieldsCherokee/Creek/Osagepainting

    Clouds to Water

    These particular pieces were created specifically for NATIVE(X) online gallery, all works are on paper. My works usually are created large scale, canvas or wall, very colorful in creation always with stylized energetic movement. I wanted to create that feel for these pieces even with their smaller size. I still focused on bringing out my color usage and movement. The winter months seem to extend well into spring here in NYC- since it is spring I wanted to capture the essence of growth, rebirth and renewal. Using the play on organics, flowers and water can be seen in the works- giving life to the pieces, the wind propelling life for a subtle dance. Some of the works have literal objects that can be recognized while others carry a more abstract feel of the season. All works created are in response for longing of spring but also inviting new viewers to see my style of painting.
    The son of artists Tom and Anita Fields, Yatika Starr Fields (Cherokee/Creek/Osage) began making art as a young child. While attending the Art Institute of Boston from 2000 to 2003, he became interested in graffiti aesthetics, which was integral to his knowledge of painting and continues to influence his large-scale projects. Fields currently lives in New York City, and the energy of urban life inspires and feeds the creative force in his artwork. He seeks to influence his viewers to rethink and reshape their relationships to the world around them. Much of his work reflects intuitive interpretations or organic theories of power of place by utilizing opposites and animation, but also serves to connect one place to another.

    Fields merges opposites: in one painting he combines anthropomorphic forms with inanimate objects and in another he imagines elaborate urban nature landscapes. In Collision on Central Park (2008), the bodies of horses swirl among architectural forms as Fields imagines what would happen if the park horses were released unto the busy city streets. His compositions are sometimes spontaneous and left open for interpretation so that multiple stories can be drawn from them. His kaleidoscopic imagery, with its dynamic pop culture aesthetic, references both historical and contemporary themes. His work has been likened to abstract, surrealist and futurist painting. He frequently uses spray paint, demonstrating how popular culture, graffiti art and hip-hop or alternative music complement the Indian art world.

    Fields, whose first name is Creek (Yv’tekv) and means interpreter, animates his landscapes by infusing them with power and emotion. His canvasses are alive with movement and filled with images that rely on vibrant colors and swirling patterns to build narratives that dazzle the eye. Some of his paintings, such as Fox on the Field (2009), incorporate repetitious design elements and prints to draw the viewer in. He also participates in live art collaborations with artists such as Doug Miles, Micah Wesley and lately, the New York Art Battles collective. The synergistic artwork created at music and skateboarding events conveys communal and individual autonomy. These works on canvas, he explains, draw off of the beat of the music and infuse rhythm into the final painting.

    Aspects of nature, such as insects, flowers and birds, convey the sense of energy derived from both the city life and his youth in rural Oklahoma. In BKLYN Backyard (2007), a wasp drinks water in the center of the canvas while vivid colors swirl outward, and in Flowers (2008), bees, petals and acorns dance around the canvas in an orchestrated design. Three Birds (2006) derives from several influences including the red dirt water of Oklahoma, the Native American Church water bird and the repeating patterns of the fashion industry. Winged creatures, Fields points out, have the ability to represent the power of a place, but also to connect one place to another through their mobility.
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  • Unfinished edge
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