Micah Wesley, an enrolled member of the Kiowa Tribe of Oklahoma, is a skilled painter who specializes in acrylic on canvas.  After graduating with a Bachelor of Fine Arts from the Institute of American Indian Arts, Santa Fe, New Mexico, Mr. Wesley went on to earn a Master of Fine Arts from the University of Oklahoma, Norman, Oklahoma, where he currently resides.

As a child he was deeply influenced by his parents.  His father was a painter, and encouraged Mr. Wesley to accompany him to collect supplies, visit galleries, and meet fellow artists. His mother’s singing continues to guide his hand while painting, allowing him to transfer his personal thoughts and emotions onto the canvas.  Childhood drawings of animals and dinosaurs eventually blossomed into more mature subjects.  As a teenager, exposure to graffiti art also influenced Mr. Wesley’s style and technique.  Today he works in various media, including oils, acrylics, and enamel paints, on gessoed canvas.  Mr. Wesley creates most of his artwork spontaneously, placing brush to canvas whenever struck by inspiration. 

Much of his current work draws parallels between films and the history of Native Americans.  Rejecting the traditional narratives of art history, which he views as overly homogenous, he seeks to emphasize individualism and identity in his art.  Mr. Wesley’s recent painting focuses on science fiction films, such as Mad Max 2: The Road Warrior.  He draws inspiration from the life struggles of characters and communities and uses these themes to create connections between contemporary Indian communities and those inhabiting a dystopian future.  Many of the paintings in this exhibit relate to the "Road Warrior" of the Mad Max film series, a haunted individual who is neither good nor bad, but who symbolizes the human drive for survival against all odds. 

The artwork featured in the exhibition may be purchased by contacting Micah Wesley directly, at thewerewulfmicah@gmail.com or by visiting his website www.wulfbrand.com. 

Arrival is one of Mr. Wesley’s most recent works.  It was inspired by Donatello’s David sculpture from the 15th century.  This sculpture was one of the first freestanding nude sculptures created since antiquity.  It depicts a youthful David, standing on the severed head of Goliath.  The original sculpture was made shortly after the Florentine people defeated the Duke of Milan in a decisive battle and it is believed to reference this event.  They identified with the biblical story of David and Goliath and it is an allegory of the triumph of good over evil.

This piece is called Arrival in reference to the increasing presence of Native American art in the established art world and markets.  Long relegated to a supporting role in the mainstream art world, the artist now sees Native American artists as the “David” in this story.  They are vanquishing the “Goliath” of establishment galleries and museums.  Emerging and established Indigenous artists are now being included in major exhibits at institutions such as the Metropolitan Museum of Art and the Minneapolis Institute of Art.  Drawing on the historic use of color, the purple loin cloth worn by the figure is a reference to the use of the color purple by royalty.  The male figure also has soft features and feminine characteristics in another reference to Donatello’s original sculpture. 

College Kid relates to the artist's own preconceived notions about higher education and the social environment there.  The young woman wears a cardigan decorated with elk teeth.  This is a reference to the blend of traditional and modern worlds that many of these students navigate.  During his time as an undergraduate student, Mr. Wesley was pleasantly surprised to meet students who were more interested in their academic achievements than in social events and parties.  This piece pays homage to one such acquaintance of the artist. 

Creek Kid out in New Mexico is a refers to the artist's own experience as a student at the Institute of American Indian Art in Santa Fe.  During his time there, Mr. Wesley was introduced to Native American artists from across the country, an experience that helped to dispel preconceived notions he had about both the college experience and the students who were there. 

In the Reckoning series, Mr. Wesley tackles the broad and complicated subjects of Manifest Destiny, the American "West", and the depiction of Indians living there.   The cowboy hats seen throughout this series are a reference to what the artist calls the “Great Western Myth”.  Particularly problematic in this mythology is its creation of pan Indian generalizations and identity.  Mr. Wesley points to lack of recognition of unique tribal identities in this mythos.  Here the artist also pushes back against the perception of the Cowboy as the icon of the American West.  An icon that ignores the true influence of both Native Americans and Mexican vaqueros in the culture of the West.  This series contains some of Mr. Wesley’s most recent works, and it is a subject he continues to explore.