Natalie Ball
Clickety-Clack
2020 leather, horsehair, beads, cotton, cowry shells, acrylic, canvas, and wood 16" x 12 ½" x 8" Sold
Clickety-Clack (detail)
2020 leather, horsehair, beads, cotton, cowry shells, acrylic, canvas, and wood 16" x 12 ½" x 8" Sold
Clickety-Clack (detail)
2020 leather, horsehair, beads, cotton, cowry shells, acrylic, canvas, and wood 16" x 12 ½" x 8" Sold
Ferocious Mothers Installation View
2020 Available
Ferocious Mothers Installation View
2020 Available
Mama Bear III
2020 five-color lithograph with archival inkjet chine-collé, edition of 18 29" x 36", 34 ½" x 41 ¼" (framed) Sold
Mama Bear IV
2020 five-color lithograph with archival inkjet chine-collé, edition of 18 32 ½" x 23", 38" x 28 ⅛" (framed) Available
My Grandma was a Jerky Princess.
2019 leather, cardboard, wood, horsehair, deer rawhide, clay, acrylic, wig, and beads 45" x 13" x 8" Available
You Mist (rattle series)
2019 shovel, horse hair, braiding hair, crystals, chenille, jingle bells, wood, and oil stick 62" x 14" Sold
You Mist (rattle series) (detail)
2019 shovel, horse hair, braiding hair, crystals, chenille, jingle bells, wool, and oil stick 62" x 14" x 10" Sold
My Grandma was a Jerky Princess. (detail)
2018 leather, cardboard, wood, horsehair, deer rawhide, clay, acrylic, wig, and beads 45" x 13" x 8" Available
When Harry met Sally. I mean, when my Mom met my Dad. I mean, when my Ancestors met my Ancestors. I mean, when a Lace Front met a Smoked Skin.
2018 beads, elk hide, wig, cotton, metal, and Skookum dolls 35 ½" x 10 ½" x ¾" Sold
When Harry met Sally. I mean, when my Mom met my Dad. I mean, when my Ancestors met my Ancestors. I mean, when a Lace Front met a Smoked Skin.
2018 beads, elk hide, wig, cotton, metal, and Skookum dolls 35 ½" x 10 ½" x ¾" Sold
Statement
I am exploring gesture and materiality to create sculptures as Power Objects. I offer my objects as proposals of refusal to complicate an easily affirmed and consumed narrative and identity, without absolutes. I believe historical discourses of Native Americans have constructed a limited and inconsistent visual archive that currently misrepresents our past experiences and misinforms current expectations. I excavate hidden histories, and dominant narratives to deconstruct them through a theoretical framework of auto-ethnography to move “Indian” outside of governing discourses in order to build a visual genealogy that refuses to line-up with the many constructed existences of Native Americans. My goal is, for my art to lend itself as new texts, with new histories, and new manifestations, to add to the discussion of complex racial narratives that are critical to further realizing the self, the nation, and necessarily, our shared experiences and histories.
Ball’s work has been shown in solo exhibitions at the Seattle Art Museum, EXPO Chicago, and the Nerman Museum of Contemporary Art in Kansas. She has participated in group exhibitions at the Institute of Modern Art in Australia, IAIA Museum of American Art, the Portland Art Museum, and the Whitney Museum of American Art. She has received awards and honors from the Joan Mitchell Foundation, Hallie Ford Foundation, The Cooper Union School of Art, Pollock-Krasner Foundation, Bonnie Bronson Fellowship, The Betty Bowen Award, Art Matters, and the Joan Shipley Fellow Award.
CV
ball-cv.pdf