Native American artist shares his story and artwork
Published 12:00 am Saturday, August 31, 2024
John Beheler stands in front of the hand-painted buffalo hide. The traditional sun design was common among robes worn by men. — Karen Kistler
John Beheler and Anne Scott Clement, executive director of Waterworks Visual Arts Center, stand in front of two of Beheler’s pieces of artwork that were part of the Spirit of the Plains exhibit. – Karen Kistler
John Beheler chats with attendees prior to his talk to the group gathered at Waterworks Visual Art Center. – Karen Kistler
Two of the pieces of artwork that were part of the Spirit of the Plains exhibit. — Karen Kistler
The Spirit of the Plains exhibit contained multiple acrylic on canvas pieces as seen here along with various mixed media pieces. — Karen Kistler
The star quilt, made by John Beheler’s wife, Misty Wolf Necklace, and the ceremonial headdress, worn by his great-grandfather Chief Big Hand, circa 1930, were included in the exhibit. – Karen Kistler
Two beaded knife sheaths, which were produced by John Beheler’s aunt, the late Pearl Colombe, were on display. – Karen Kistler
SALISBURY — Beginning with a traditional greeting at the Aug. 22 presentation of his artwork at Waterworks Visual Arts Center, artist and educator John Beheler, a member of the Yankton Sioux Tribe, said, “I greet you from my heart with a handshake from my heart.”
Beheler, whose Indian name is Mahed Wayanka or “Sees Within,” said he received this name from his grandmother at a ceremony. From South Dakota, he and his wife, Misty Wolf Necklace, both teachers, live in Charlotte and are close to family.
He is one of three artists whose artwork is on display at the local center, located at 123 E. Liberty St., as part of its Journey Within: Present in the Moment series presented by Waterworks in partnership with Salisbury-Rowan Community Foundation.
The exhibits will remain open through Sept. 4. Gallery hours are Monday through Friday from 10 a.m. to 5 p.m., Saturday from 10 a.m. to 2 p.m. and closed on Sunday.
Anne Scott Clement, executive director of the center, introduced Beheler, after which he shared his story and told how his artwork developed. He said that “his art is informed by the serial aspects of Native American culture and ceremonialism.”
The room was filled with those who came to see the artwork and hear his story.
One attendee, Jean Willis, came to learn more about the Native American culture. She said, “I enjoyed looking at the artwork itself, the brilliance of the color, the way the art is displayed, and his history on the artwork. That was very interesting. I thought it would be a good evening out.”
Also on hand was Ray Moose, who said he had seen the works as they were being put up, and he wanted to be there on this particular day “to hear what John had to say.”
During his presentation, Beheler talked about his early years growing up on the Crow Creek Indian Reservation with his family. It was while living there and watching his older brother and mentor, Jerry Fogg, that the seed of art was planted.
Beheler said they didn’t have lots of resources, so his brother would draw on a piece of sheetrock, often late at night, and wake him up to show him his work. One that he told the group about was the same format as Mount Rushmore; however, instead of presidents, his brother had drawn Indian chiefs.
Looking at it, Beheler said he would look at it and think, “Wow, not knowing that one day I would be doing the same thing.”
He continued by saying that when he was young, he attended boarding school, not because his parents couldn’t afford to keep the children at home, but, he said, “it was more about them wanting to give us the best opportunity, the best stepping stone toward our future so they sent us to the boarding school.”
Unfortunately, though, he said while at boarding school, he suffered abuse, so his art provided therapy for him throughout his career and life.
“It’s been a bit of a medicine for me,” Beheler said, and “it gets to take me someplace other than that place (of) the abuse, that memory of abuse. I get to express a part of me that represents the beauty of our culture versus those adverse experiences.”
Beheler explained the stories revealed in the various acrylic canvas paintings and the mixed media pieces that were on display in two rooms of the center in an art exhibit entitled “Spirit of the Plains.”
His paintings, he said, “all reflect some aspect of culture. I use the visual format here to tell stories and to share about our culture.”
One piece he pointed out depicted a large ceremony that is held every summer called Sundance, which he said “for ceremonial purposes, is near and dear to my heart.”
The painting showed a Sundance tree, which he said “holds the prayers of the people as men fulfill their pledge to sacrifice and suffer for healing and well-being.”
Beheler said that every summer they come together for prayer and plant a large tree and place their prayers in it and dance for a period of four days, “offering ourselves through the dance. That whole concept of the circle, what goes around, comes back. So, when we offer ourselves through the dance, then the blessings come back to the people,” he said.
Some of the other paintings have special meanings “because they’re related to a particular concept,” he said. He mentioned a piece entitled “MMIW,” which speaks of a movement of murdered and missing indigenous women.
This piece, Beheler said, “with regard to that movement, is an extremely powerful piece.”
Beheler estimated he has done close to 100 paintings, some of which have been purchased. One of those is entitled “Dakota Starry Night,” which he said had a Vincent Van Gogh style. “It was a lot of fun,” and he enjoyed doing this one, “and the concept behind it too,” he said, noting that this one is in the South Dakota governor’s mansion.
Another piece of art he explained was the hand-painted buffalo hide, which he told the group is one of their early and oldest forms of art. It does have a contemporary version, the star quilt. One example of the quilt was done by his wife, and it was also displayed in the exhibit.
Beheler said that the buffalo hide is “to honor the traditions of my ancestors and to celebrate the way of life, the art we had long ago and the use of pigment that comes directly from the earth.”
In addition to the acrylic canvases, additional pieces on display included two beaded knife sheaths produced by Beheler’s aunt, the late Pearl Colombe, a mixed media framed piece entitled “Circle of Life,” created by his brother Jerry and a ceremonial headdress, which had been worn by his great-grandfather Chief Big Hand, circa 1930.
Coming up in October, Beheler said he would have a presentation in Poland, and he is also working on publishing a book about his art and life.
“I’m excited about that,” he said.
Being able to have an exhibit and show his artwork to the community is huge, Beheler said, “because I come from a setting and an environment, a world, a reservation where people only hear about us from the media and a lot of times people think that we’ve vanished, our race has vanished, and I like to be the voice that says ‘we’re still here.'”
To see more of Beheler’s works of art, visit wayanka-arts.com.
