School of the Art Institute of Chicago Stony Brook University Art Students League of New
Known for
Painting
Athena LaTocha is an American artist based in New York artist. Her mixed-media works focus on humans' relationships to natural landscapes. She is of Hunkpapa Lakota and Ojibwe descent.[1]
Her background in oil painting gave way into using other methods of her art. She has said that, "Over the years, I started removing my hand more and removing brushes and all of the proper tools we're trained with as painters. It's been years of finding other ways to look at the process, and other ways to look at and interact with materials."[8] She is often using sumi ink (made from the soot of pine branches in Japan)[5] mixed with earthy material and gathered objects such as bricks and tire shreds to paint. She'll use the tire shreds to pull the ink over the canvas, or move the canvas itself in "wavelike undulations" to guide the ink.[9] In her time at Wave Hill, she also made use of a root ball, a mass of roots at the base of a plant that has soil surrounding it.[5] She usually works with her canvases on the floor with her working over and on top of them. She has said that, "Working aerially with my images on the floor, I am interested in being inside the image rather than the outside as an easel painter."
Message
LaTocha brings attention to the idea that landscapes are an active thing as opposed to objects. She embodies the belief that humans are part of the landscape rather than separate from it by literally standing within the scenes she paints.[9] She has said that, "For a number of years now I've been working with land motifs, land imagery. All of my work is about being immersed in these spaces, these environments. Sometimes I'm reluctant to use the word 'landscape' because there's a certain kind of genre, a certain kind of concept or ideology when you think about the idea of landscape. It connotes a kind of reverence or allusion to something. It's usually something that you're looking at or looking upon. It's this view or window into another world, a natural world or an industrial one."[10] While bringing attention to this she tries to have the observer and artist be a part of the piece itself as she herself has stated, "In the aboriginal sense one is actively moving through the landscape. Humans are part of the landscape, not separate from it."[9]
For Art for a New Understanding: Native Voices, 1950s to Now (2018-2019) at the Crystal Bridges Museum of American Art, the curators selected Ozark (Shelter in Place), a large wall piece in ink and earth on paper created from rock face impressions from a local national park and then molded lead sheets affixed on top.[16]
