"Seven years your right, under a flagstone in a quagmire, Without food, without taste, but the thirst you ever torturing, The law of the judges your lesson, and prayer your language; And if you like to return You will be, for a time, a Druid, perhaps."

- An old Irish Poem

PERSONAL

In my work, I honor the styles of handmade traditional art that have been shared across cultures since the beginnings of time. The primary focus of my art is to teach cross-cultural awareness through the elements of art. An equally, if not more important foci is its spiritual, social, and healing aspects. My art is my thoughts and prayers made visible.

I never stop searching for meaning in all things. For me, art has been a powerful force for reflecting on the ways of the world. I have found that knowing about the why of art across cultures is more important than extensive culture-specific knowledge. When addressing the deeper meanings of art, my goal is to explore ideas, needs and values that can be found throughout all time and places; to find similarities within the differences, which is where dialogue begins.

Since 1980, I have worked with artisans and traditional Elders exploring pluralism within art and education. My mentor and teacher, Mary Ellen Hillaire told me many years ago, "Learn to deal with politics without being political, then you will be truly human." This is a very hard lesson which the political mind cannot understand and has become a mantra behind the spiritual, social and healing aspects of my art. Through the teachings of my Elders, the flagstone in the quagmire which once felt oppressing, has been thrown off, for a time, perhaps forever.

EDUCATION IN TRADITIONAL ART AND PHIlOSOPHY

• 1978 to 1979 "Social Strucures, Family Life and Female Roles" Stephanie Coontz and Peta Hendersen. The Evergreen State College, Olympia, WA. Twelve credits.
• 1980 "FUTURISM: Personalized Research" Mary Ellen Hillaire, Phd. The Evergreen State College, Olympia, WA. Sixteen Credits.

Excerpt from an Evaluation by Mary Ellen Hillaire:

"Maureen Elsie Yocum's [Nelson] participation in the discussions of program concepts both during and after resource people presented their thoughts, ideas and experiences demonstrated excellent development of listening skills, creative abilities in the application of the program concepts to rational thinking, problem solving, decision making and expression in comments or questions that not only benefits her but contributed to the value of the program to others.

In my opinion, Maureen Elsie Yocum is an intelligent student who worked during summer quarter in Human Growth and Development, a field commensurate with her abilities and desire to help people help themselves. For her work during the summer quarter in the program FUTURISM: Personalized research, I recommend that she be awarded 16 credits in the following study areas (Research Methods 4 credits, Human Resource Development 4 credits, Value Clarification 4 credits, Human Growth and Development 4 credits) with the note that Maureen Elsie Yocum worked beyond her ability for college level work in research and is capable of graduate work if she selects to continue her education."

Mary Ellen Hilllaire 9/2/80

• 1981-1982 "Two Revolutions In Art And Thought" Bill Windem and Charlie Teske. The Evergreen State College, Olympia, WA. A year long course on western European art and literature. 36 credits.
• 1980 to 1982 Apprenticeship with Mary Ellen Hillaire, Lummi. Learning Ways of Being taught in Oral Tradition.
• 1985 to 1989 Apprenticeship with Johnny Moses, Swinomish. Work in the Si-Si-Weiss Tradition, a Northwest Coast Secret Society.
• 1989 to 1990 Apprenticeship with Joe Washington, Lummi Tribal Elder. Lessons in Oral History and Traditions, travelled to various events in Washington and British Columbia.
• 1989 to 2000 Apprenticeship with Bruce subiyay Miller, Skokomish, Smokehouse Leader, Cultural Docent. Guidance in Northwest Cultural Experiences.
• 1990 to 1995 Apprenticeship with Lillian Pullen. Quileute Tribe: Adopted family member and learned Social Structures, Family Life and Female Roles in a contemporary Quileute family.
• Winter 1997 Theater Workshop. "Star Boy" and "Blue Jay Goes to the Land of the Dead" produced by Bruce subiyay Miller. Included oral tradition, elements of traditional story telling, theater and music. Sponsored by the Northwest Indian Arts Commission and the Washington State Arts Commission.

LIFE’S WORK

• 1985 to Present Beadweaving. Exploring, learning and teaching jewelry making techniques using traditional stitches: peyote stitch, open weave, loom, lace stitch, Zulu and Maasai stitches, etc.
• 1989 to Present Created numerous life masks, beaded effigies, bowls and mandalas of mixed medium: beeswax, beads, sand, dentillium, paint, plaster, shell, feathers, etc. All my work is made of organic materials.
1989 to Present ArtsWalk, Olympia, WA. In April and October Artisans take over downtown Olympia to celebrate creativity.
1989 to Present Developed and edited curriculum for Truth in Education Projects through the Traditional Artists Guild, focusing on Pluralism and the Transvangarde: i.e., cross-cultural awareness through the arts.
1990 to 1991 Traditional Artists Guild: Founding Member. Researched and developed the foundations and by-laws for the Traditional Artists Guild to teach cross-cultural awareness, truth in education, and artist's rights in Northwest oral traditions. Traveled throughout Washington State teaching and learning about Inter-tribal art and philosophy, using oral tradition techniques of communication.
1990 to 1996 Created an educational program, Truth In Education, that provided books at PowWows as an outreach program to encourage learning and build self-esteem. Did research on diverse subjects related to art and Native American history. Worked with Skokomish Headstart program to provide books for cultural enrichment.
1994 to Present Mixed Media Art. Sculptures, prayer bowls, effigies, life masks and mandalas made of skulls, bones, beads and wood, etc.
Spring 2000 Alki Program, Reeves Middle School: Humanitarian Tile Project. Artist-in-Residence. Painted a 38 tile centerpiece in the class and assisted the students with their tiles. Worked within the classroom during the Spring quarter creating the centerpiece image and advertisement tiles. Assisted the teachers with design and production of the students tiles.
April 2001 Sunset Magazine (p.34). Photo of me in my costume "Nuestros Marcos" which I created for Spring Artswalk 1999, published in the Travel section.
2002 Olympia Salmon Run Public Art Project. On a 8' x5" diameter fiberglass core, "Blueback Beads in a Roe" is embellished with 30,000 beads depicting a female Blueback salmon in spawning colors of black, red and green. She is located in the Olympia Center.
May 2003 Sunset Magazine (p.40). "Blueback Beads in a Roe" published in the Travel section.
Since 2000 Children's Sacred Space at Sherwood. The first two weeks of July at Sherwood on Willapa Bay, Long Beach Peninsula, WA. Spend two to four hours a day with the children creating feather prayer wands, bead necklaces, and various other art projects.
2004 Dancing Dragons and Okanogan Barter Faire: Children's Sacred Space. The children create Children's Sacred Space through smudging and sharing about themselves. It is a workshop for children of all ages with a focal point for small children to create and play for two hours during the midday, sharing stories and entertaining each other with our individual skills and talents. Adults within Children's Sacred Space experientially participate in the world of play and imagination with the children as our teachers. As we create we discuss ways of being that are respectful to all respectful of all living things.
2003 to 2005 Masks and Mirrors. This workshop creates not only a mask but an understanding of Self and Other, which begins, is and always will be in Love. Students will work in tandem, creating an image of Self as an altarpiece, to bring us back to that place of Love Where All is One. Masks and Mirrors reflect that which we usually do not see, our Self. This workshop is a journey into Love and Self that we share with a dear one. The mask represents that which we wish to share and work on with our Other and our Self. It brings us to a place I call Sacred Space, that place where our most vulnerable thoughts are kept. As we create Sacred Space with our loved ones, we learn to trust and support each other, breaking down the dividing lines that separate us from one another.

INTERESTS & ACTIVITIES

• 1985 to 1989 Red Cedar Circle. Experiential participation in Smokehouse ceremonies, various locations in Western Washington.
• 1989 Paddle to Seattle. Cultural docent for non-native volunteers, sports massage therapist for paddlers, two week journey from La Push to Seattle, WA.
• 1990 to 1996 Inter-tribal PowWows. Washington State during the summer months. Worked with the Traditional Artists Guild's Truth in Education program.
• Summer 1991 Stein Valley Festival, Tsawwassen Indian Reserve, Chilliwack, BC. Travelled with elder, Joe Washington.
• July 1991 Gathering of the Eagles, Nambe Pueblo, NM. Spent two weeks exchanging art, life and beading techniques with Huicholes of the Sierra Madres, Mexico.
• October 5-20, 1992 500 Years of Resistance. Caravaned to San Francisco, CA. and distributed the educational magazine, Rethinking Columbus, through the Traditional Artists Guild's Truth In Education program.
• October 12, 1992 Participant in A Day of Remembering at Alcatraz Island.
• 1993 Salmon Homecoming PowWow, Seattle, WA. Worked on the steering committee through the Northwest Indian Fisheries Commission and the Seattle Aquarium under Angie Pavel.
• Winter 1994 Options Program, Olympia School District. Mask-making workshop with Linda Greer.
• 1995 Worked on two Chatino Folklorica plays with the Cruz Collective: La Malinche and Life is Like a Dream. Created masks and costumes for the characters.
• Spring 1995 to 1999 Procession of the Species: Taught mask making techniques to various groups in the community. Participated in the warehouse projects, assisting people on their creations, troubleshooting creative blocks, and creating 'giveaway' gifts for the community.
• Feb 1995 Day of Absence/Day of Presence: Facilitated two mask making workshops at TESC for the First Peoples Coalition in conjunction with the Affirmative Action Office. A show of the masks was hung in the library for the month of March.
• March 1, 1995 Masters in Teaching Program, The Evergreen State College. Facilitated mask making workshops with graduate students. I taught the students mask making, techniques of teaching, design and application, how to build masks into biomorphic creatures, explained ways to work through creative blocks, and costume design.

Co-facilitated three class with the MIT students teaching mask making with:

• March 8 Twana Dancers, the children's dance group from Skokomish.
• March 31 Children on the Chehalis Reservation.
• April 8 Children of the MIT students in Maxine Mimms Kiddie Kollege.

• Summer 1995 and 1996 Salmon Homecoming PowWow, Seattle, WA. Worked with the Traditional Artists Guild's Truth In Education program.
• Spring 1996 Maasai beadwork. Studied techniques with Kakuta, traditional Maasai from Kenya, Africa.
• Feb 1996 "Traditional Artists Guild Presents" Two shows about traditional art on TCTV. Produced by Sue and Ben Charles, S'Klallam.
• Winter 1996 Skokomish Smokehouse. Participated in the building of the Smokehouse and Skokomish traditional ceremonies.
• June 1997 Super Saturday, The Evergreen State College. Participated in three storytelling plays directed by Bruce subiyay Miller, Skokomish.
• 1996-2000 Northwest Native American Basketweavers Association. Member. Participated and volunteered in the NNABA annual gatherings at The Evergreen State College (1996) and Yakama (1997).
• 2005 Olympia Artisan Alliance. Member.

PUBLICATIONS

• July 20, 1998 "Chiapas After Acteal: A View of Complicity" Self published Chap book in response to... "On December 22, 1997... sixty paramilitaries of the Institutional Revolutionary Party (sponsored by the [Mexican] federal and state governments)... attacked the displaced refugees with high-caliber weapons." (Subcomandante Insurgente Marcos, 12/22/97)
• 1999-2001 The City of Olympia's Arts Commission has used an image of me in costume as "Neustros Marcos" to advertise the Procession of the Species Parade and Artswalk. The costume consists of: a mask made of beads, beeswax and plaster; a traditional men's huipil from Chiapas; and a feathered hat I created the traditional Huichol style (Mexico); a wooden staff.
• My work has been in two publications of Sunset Magazine in articles about the City of Olympia:
• April 2001 Sunset Magazine (p.34). Photo of me in my costume "Nuestros Marcos" which I created for Spring Artswalk 1999, published in the Travel section.
• May 2003 Sunset Magazine (p.40). "Blueback Beads in a Roe" published in the Travel section. Sunset Magazine: An Afternoon in Olympia
• 2005 Preliminary Capital Facilities Plan.pdf (2006-2011), City of Olympia, WA. "Blueback Beads in a Roe" was used as an image for the cover page of this facilities Plan.

Other Websites where my Art may be viewed:

Traditional Artists Guild

Disabled Artists Network

Olympia Artisan Alliance

Olympia Salmon Run

Art Industries - My e-cards [click on image to see all cards]

Folk Artists

© 2005 Traditional Artists Guild
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