Ryan Singer
History is Deafening
30" h x 30" w
RYAN SINGER
Ryan Singer, a Diné (Navajo) artist, masterfully synthesizes cultural storytelling, pop iconography, and incisive commentary in his work. His oeuvre, spanning both acrylic paintings and clay pottery, offers a profound exploration of identity, memory, and the interplay between tradition and modernity. Through vibrant imagery and layered symbolism, his art invites viewers to engage with the complexities of Indigenous experience and the evolving narratives of Native life.
Central to Singer’s artistic vision is his deep connection to the Navajo Reservation. This landscape is more than a geographical space; it is a wellspring of inspiration and formative experiences. By transforming his personal relationship with the land into a broader artistic narrative, Singer reflects on Native history, culture, and the contemporary challenges faced by Indigenous communities. As he states, “There’s always a lot of nostalgia in my work. My work is about remembering, reliving, representing.”
Singer’s approach is distinguished by his integration of diverse influences. Drawing inspiration from sci-fi, skate culture, comic books, and punk rock, he merges these modern motifs with traditional Navajo aesthetics, creating a unique visual language that resonates across cultural boundaries. This fusion situates Singer as a pivotal figure within the Native Futurism movement, an innovative art genre that reimagines Indigenous narratives through contemporary perspectives.
“There’s always a lot of nostalgia in my work. My work is about remembering, reliving, representing.”
His work often pays homage to past artists and art forms, such as Harrison Begay, whose stylized depictions of Navajo life influenced Singer’s painting On the Hunt. While Begay portrayed everyday Navajo scenes, Singer infuses this aesthetic with a sense of playfulness, incorporating an Allosaurus on a hunt amidst traditional Navajo elements. His childhood fascination with dinosaurs and deep appreciation for traditional Navajo art converge in this piece, illustrating his ability to blend historical and fantastical themes. “I wanted to show something that was part of my childhood, but also reflect our history,” he explains.
Singer’s love for science fiction is evident in Creature Season, where he reinterprets Navajo pictorial rugs through the lens of Star Wars. Layered landscapes depict a range of alien creatures interwoven with Navajo figures engaged in daily life. The piece highlights the seamless integration of Native traditions with pop culture, reinforcing the idea that Indigenous identity is not static but ever evolving. As Singer puts it, “Our culture is alive. It adapts, it absorbs, and it grows.”
In Colonizer, Singer addresses the intersections of colonialism and space exploration. The piece features a Navajo woman standing beside a classic 1980s arcade game titled “Colonizer,” referencing both the historical consequences of colonialism and the imperialistic themes often found in sci-fi narratives. The patterns throughout the painting reflect a blend of 8-bit video game graphics and traditional Navajo rug designs, reinforcing the juxtaposition of historical and modern themes. “Science fiction and history go hand in hand when you think about it,” he remarks. “Colonization is not just a thing of the past—it’s a theme that continues into the future.”
Singer also explores the power of historical narratives in History is Deafening, a painting that juxtaposes battle scenes, toys, fast food imagery, and symbols of capitalism and colonialism. The title suggests how dominant historical narratives can overshadow or distort Indigenous perspectives. As Singer notes, “History is often written from a Eurocentric viewpoint. My work seeks to challenge that perspective and present our own.”
24" h x 30" w
Our Shepherd Beyond
Acrylic on canvas
20" h x 16" w
The symbolic and cultural depth of Singer’s work is particularly evident in paintings such as Cochiti Pueblo Matriarch and Oglala Lakota Man. The former pays tribute to Pueblo women’s strength and leadership, featuring a powerful portrait of Dr. Joannie Suina in traditional attire, set against a stylized landscape inspired by David Bradley’s Pow Wow Princess, Southwest. The latter transforms a black-and-white portrait by Joseph Kayne into a vibrant painting that exudes pride, resilience, and cultural continuity. “Representation matters,” Singer asserts. “These paintings are about showing the strength of our people.”
Beyond paintings, Singer’s clay pottery further illustrates his creative versatility. Infusing traditional forms with whimsical imagery, he expands the boundaries of Indigenous pottery. Singer’s Dinosaur Egg Pot features a T. Rex, reflecting his childhood fascination with dinosaurs, while Hunny playfully references Winnie the Pooh’s obsession with honey. These works showcase Singer’s ability to blend humor and cultural commentary, making his art both accessible and deeply resonant.
Singer’s engagement with Star Wars extends into pieces such as The Sleeping Tusken, Scorched Earth Campaign, and Our Shepherd Beyond the Dune Sea. Inspired by artists like Henri Rousseau and David Bradley, The Sleeping Tusken reimagines “The Sleeping Gypsy” with a Tusken Raider from Star Wars, blending Indigenous social commentary with sci-fi elements. Scorched Earth Campaign parallels the Navajo Long Walk with the imperial destruction seen in Star Wars, drawing attention to colonial violence.
Similarly, Our Shepherd Beyond the Dune Sea connects childhood memories of herding sheep on the reservation to the desert landscapes of Tatooine, merging personal and cinematic storytelling. “When I saw the sand dunes in Star Wars, it reminded me of home,” Singer recalls.
Ultimately, Ryan Singer’s work operates on multiple levels, offering both an aesthetic experience and a conceptual challenge. “My goal is to teach, inspire, and motivate,” Singer explains. His art invites reflection on the complexities of cultural heritage, the intersections of past and present, and the possibilities for future narratives. By bridging tradition and modernity, Singer’s creations stand as a testament to the enduring vitality of Indigenous art and its capacity to inspire dialogue and transformation.
