Q&A: Native American artist Del Curfman

This summer Bristol’s specialist Native American gallery Rainmaker shows paintings by Del Curfman, a member of the Apsáalooke or Crow Nation of Montana, USA.

In three series, Del’s paintings celebrate the Apsáalooke’s cultural heritage and living traditions. The Vanishing series features dynamic depictions of Crow Indian runners, riders and dancers: portraits that belie the common notion of a ‘vanishing race’. The Remembrance series draws on 18th- and 19th-century photographs of traditional Crow life, while the Solstice series includes paintings of individual animals from the creation stories of the Apsáalooke. The stories speak of Rainbow Crow and Old Man Coyote, who moulded the earth and called the animals into existence.

What’s your medium, and how did you get into art?
Oil paints on board, canvas or linen. I originally started out with drawing – it was something I was interested in and had an ability and talent for. I didn’t even know where to take it. Then I enrolled in my tribal community college in Crow Agency Montana, where I found out my passion was truly in the arts. So, through a series of events I actually ended up in DC and realised very quickly that I needed to have a post-secondary schooling.
My uncle had a huge influence on me and asked me what I was interested in. My first answer was art. So I applied to the Institute of American Indian Arts in 2012.

The arts are seen as a tough career path. What would you say to this view?
Art is expansive. There are a lot of opportunities for anyone who wants to get involved. They may not be producing art work but I believe that – at least in America – there are many opportunities to be creative. I think the world is run on creative energy and everyone has an artistic level to them that just needs to be focused. So if pessimists are saying you can’t make money in the arts, I’m saying: people are already doing it. It’s just how you define it.

It can be particularly tough for young and emerging artists. How do you recommend overcoming this problem?
Every artist should have a contract with their gallery. The galleries make money by selling their artists’ work to wealthy clients. There’s an obligation between artist and gallery and the terms are never really specified outside of the two parties – but it’s to be honoured. Regardless, you always shine through for whatever you’re worth. If you’re putting in the work and effort and have the talent, there’s no reason why you shouldn’t be getting paid for what you’re owed. Be responsible, be level-headed and that’ll always guide you through the rough times.

Joanne Prince, Director at Rainmaker, has said that she wants Native artists to be valued as individuals, not stereotypes. What do you make of that?
It’s funny: Native artists are always labelled ‘Native Artists.’ You never think of them as artists, at least not in America. From birth, we are pigeonholed into creating Native art, no matter if we’re creating Native things. That’s mainstream culture: you wouldn’t label someone a ‘white artist’. There are guidelines and restrictions placed on native artists specifically because of their ethnicity. You can’t escape that label, although many Native artists try to run from it. Some use it to their advantage, while others say, “this is not what I want – I’m Native but I don’t make ‘Native Art’.” So there are two sides to that coin.

You grew up on and off a Native American reservation. How were your relationships with non-Native neighbours?
Montana is in the far north of the USA, bordering Canada. White Montanans already have their preconceived notions, their own ideas on race, ethnicity and who they are as Americans. Natives have never separated themselves by ethnicity or tribe. Others have. There are a lot of labels in America and that’s really defining of who you are.

What are your impressions of Bristol?
I never envisioned my life taking me here, especially from my background – a reservation in rural Montana. Bristol is beautiful in its own right, very interesting. There seem to be fewer labels here. I’d definitely come back, it seems like a very lovely place.

Del Curfman’s solo exhibition Apsáalooke is at Rainmaker Gallery until August 6. For more info, visit www.rainmakerart.co.uk/apsaalooke