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Stella Nall is a Montana based multimedia artist and poet. She is a First Descendant of the Úuwuutasshe (Greasy Mouth) clan of the Apsáalooke (Crow) Tribe, and her Crow name is Bisháakinnesh (Rode Buffalo) and was given to her by Ronnie Yellowmule. Her work often engages with current issues pertaining to Indigenous identity, visibility and representation; while also inviting connection from people of all backgrounds by discussing ubiquitous human experiences such as love, loss, joy and grief.
She graduated from the University of Montana in 2020 with a BFA in Printmaking, a BA in Psychology and a minor in Art History and Criticism. She now lives in Missoula, where she is represented by Radius Gallery. Her work may be viewed as murals across Montana, as well as in national public collections, including The Montana Museum of Art and Culture, The Smithsonian National Museum of the American Indian, and The IAIA Museum of Contemporary Native Arts. Publications featuring her work include Scribendi, Cutbank, Denver Quarterly, McClain’s Printmaking Catalog, Montana Quarterly, The Thalweg, Stray, Word Dog, and Poetry Northwest. |
Stella Nall / Artist Statement
As an artist I am driven by three primary forces: to process my experiences, to connect with others, and to advocate for change. I am a mixed race Indigenous woman, registered as a First Descendant of the Apsáalooke (Crow) Tribe. I combine beadwork with other two-dimensional forms of art-making such as printmaking, painting, and illustration with the intention of challenging existing stereotypes and expectations viewers may hold about what Indigenous art should look like. At this time, I primarily work in two styles: multimedia abstract paintings which are used to process my emotions, and “creature creations” which utilize vibrant colors and detailed mark making to illustrate whimsical, sweet, imagined creatures that tell a story.
For both styles, I employ unique techniques and materials to create the intricate mark making that is characteristic of my work. My abstract paintings start with a base of acrylic on canvas, and are embellished with graphite, beadwork, and found materials such as industrial staples, wool, and leather. Each abstract piece stems from an experience, emotion, or impactful time in my life. I begin by thinking of the very first memory of the matter, and then work forward through all of the thoughts, recollections and emotions up until the present. I work on a given piece until I have found some sort of peace within myself about it. This body of work acts as a venue for me to process my emotions and enables me to deeply invest energy into my other work as a studio artist.
The “creature creations” vary in media, and emerge as illustrative work on paper, beadwork, relief prints, wood carved acrylic paintings, and murals. I utilize these imagined creatures to discuss a wide variety of topics including love, grief, joy and identity. Much of my recent illustrated work draws from my experiences navigating the world, and focuses on current issues pertaining to Indigenous identity, visibility, and representation. Some of the imagery I use is drawn from tradition, and some I developed to speak to my own experiences. This work often contains humor, as I think laughter is a great way to bring people together.
As an artist I am driven by three primary forces: to process my experiences, to connect with others, and to advocate for change. I am a mixed race Indigenous woman, registered as a First Descendant of the Apsáalooke (Crow) Tribe. I combine beadwork with other two-dimensional forms of art-making such as printmaking, painting, and illustration with the intention of challenging existing stereotypes and expectations viewers may hold about what Indigenous art should look like. At this time, I primarily work in two styles: multimedia abstract paintings which are used to process my emotions, and “creature creations” which utilize vibrant colors and detailed mark making to illustrate whimsical, sweet, imagined creatures that tell a story.
For both styles, I employ unique techniques and materials to create the intricate mark making that is characteristic of my work. My abstract paintings start with a base of acrylic on canvas, and are embellished with graphite, beadwork, and found materials such as industrial staples, wool, and leather. Each abstract piece stems from an experience, emotion, or impactful time in my life. I begin by thinking of the very first memory of the matter, and then work forward through all of the thoughts, recollections and emotions up until the present. I work on a given piece until I have found some sort of peace within myself about it. This body of work acts as a venue for me to process my emotions and enables me to deeply invest energy into my other work as a studio artist.
The “creature creations” vary in media, and emerge as illustrative work on paper, beadwork, relief prints, wood carved acrylic paintings, and murals. I utilize these imagined creatures to discuss a wide variety of topics including love, grief, joy and identity. Much of my recent illustrated work draws from my experiences navigating the world, and focuses on current issues pertaining to Indigenous identity, visibility, and representation. Some of the imagery I use is drawn from tradition, and some I developed to speak to my own experiences. This work often contains humor, as I think laughter is a great way to bring people together.
I'd like to thank the great print assistants we had on this project: Jason Clark, Kendall Quindry, Aydrein Harden, Jean Carter & Robert Spradlin.
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With matching funding by MATRIX Press.
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