The Wheelwright Museum of the American Indian
Santa Fe, NM
Exhibition Dates
04/10//03/
Shonto Begay: Eyes of the World features the work of Navajo Neo-Impressionist artist Shonto Begay. Autobiographical in nature, his paintings visually narrate his connection to the Navajo landscape, personal histories, and cosmology. Shonto’s voice resonates throughout the exhibition, poetically complimenting individual artworks with in-depth storytelling and reflections on life, furthering the viewer’s understanding of art as an activity that creates objects of healing, beauty, and peace in a troubled world.
“My relationship with the Wheelwright Museum goes way back and deep. My father’s Diné prayer blessed this museum. The Wheelwright is guardian of our Diné Jish – the creative forces of scared visionaries,” Shonto says. “I am fortunate for my artwork to be in the Wheelwright Museum collection. My vision graces its walls with great validation.”
The striking beauty of the Dine’ land and culture meet the harsh realities of reservation life in Shonto: Eyes of the World, a solo exhibition featuring original paintings from the s until present day. Autobiographical
About Shonto
Diné (Navajo) Painter. Illustrator. Author. Educator.
“In my heart I hold a boundless gratitude to having been born and brought up on the vast beauty of the upper Diné (Navajo land). I see the world and my life experiences through this lens. My paintings are expressions of the purity of the Shonto Plateau I still call home. Beauty in the truth, beauty in the sacred, and the mysteries. I paint to share colors as an expression of having been,” says Shonto Begay, Diné (Navajo) painter, illustrator and author.
The art of Shonto Begay captures the striking beauties of a Navajo upbringing and the realities of modern reservation life. A traditional life of sustainability and prayer helped Shonto endure the brutality of the U.S. government boarding school he was forced to attend as a child. He paints in a series of small brush strokes that repeat like the words of a traditional Navajo blessing prayer. His images harken heartfelt childhood memories and resonate the constant struggle for balance and harmony with humankind and Earth.
Born in a Hogan, Shonto grew up herding sheep in sheep in Kletha Valley in Shont
Shonto Begay Biography: The Colorful Odyssey of A Navajo Artist
From the intriguing arts to the mesmerizing piece of writing, Shonto Begay is a name to remember in this artistic world.
Growing up in a traditional Navajo hogan and herding sheep in the stunning landscapes of Kletha Valley, Shonto&#;s childhood was filled with cultural richness and natural beauty but also with the trauma of forced assimilation at Indian Boarding Schools.
In this blog, we will explore Shonto Begay biography and how his unique perspective has shaped his colorful and captivating work. Through his artwork, Shonto has been able to heal and share his experiences with the world, becoming a leading voice in contemporary Native American art.
Early Life and Cultural Roots: Growing up in the Navajo Nation
Shonto Begay&#;s early life was spent in the midst of the Navajo Nation, where he grew up in a traditional Navajo hogan and was surrounded by his large family. He spent much of his childhood herding sheep in the Kletha Valley, a stunningly beautiful landscape that would later become a recurring theme in his art.
Shonto&#;s mother was a traditional Navajo rug weaver from the Bitter Water Clan, and
Shonto Begay
Born on a Navajo reservation, Shonto Begay has been painting for over 30 years and is represented in galleries across the Southwest. In addition to his paintings, Begay has worked as a children’s book author and illustrator, an educator, an actor, and a National Park Service ranger.
“I grew up in the traditional Navajo lifestyle, camping year round. I spent a lot of time alone as a shepherd and those times alone were the times that changed my eyes, my senses. Just watching the world, watching the goats, keeping them away from the cornfield. And of course, later on that translated into trying to copy nature. Anything that could receive a mark, an old cardboard, even slip rocks, anything like that. So I began trying to copy my world.
I was forced into the U.S. government boarding school system. It was a brutal institution, and it was in those times—times of hardship—that I learned to escape the harsh reality by drawing on the margins of my homework. Just drawing, just living in my own constructed universe. That’s how I survived boarding school, that’s how I am still surviving today. It was just a way of staying alive.
I’ve always seen my
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