Gerald Clarke

I express my Cahuilla perspective as a 21st Century citizen of the world and the passion, pain, and reverence I feel as a contemporary Cahuilla person.''

-Gerald Clarke, 2023

A traditional art form of the Cahuilla people, basketry is not only a community, but a family tradition for Clarke.

While his artworks do not utilize the same materials as seen in traditional basket making, he sees his creation process as similar to theirs: "Cahuilla basket makers go out and gather materials, and they put them together to produce something that is both functional and aesthetic. I kind of do my work the same way. I go out and I gather these things. I combine them."

Clarke's work is often politically minded, reflecting on current and past issues taking place in Indian Country, California, the United States as a whole, and within his personal life.

"...through art, I can come to an understanding of myself, my community and the world around me. - Gerald Clarke"

Gerald Clarke (born February 24, 1967) is a sculptor, installation, and conceptual artist from the Cahuilla Band of Mission Indians.

His work often reflects on and questions current issues in Native America and the United States, as well as his personal life.

Gerald Clarke was born in Hemet, California on February 24, 1967, to parents Carol and Gerald Clarke Sr., his father being born Cahuilla.

At the age of 3 his parents divorced and he moved with his siblings and mother to Orange County, and on the weekends he would return to the reservation to spend time with his father.

At age 16, he moved to Arkansas with his mother and sister.

He attended Ozarka College, where he majored in welding, electrical maintenance, and hydraulics; three necessary components to the artworks Clarke would create as a full-time artist.

After graduation from vocational school, Clarke worked as a welder, and eventually met Stacy Brown, whom he would eventually marry.

Ready for change, Clarke was accepted to University of Central Arkansas where in 1991 he obtained a Bachelor of Arts in painting and sculpture.

Clarke then went on to obtain his Master of Arts in 1992 from Stephen F. Austin State University.

After graduation he became an adjunct professor of art at Lon Morris College all the while working on his Masters thesis.

With his thesis, which looked at the use of traditional American Indian themes and images in contemporary art, accepted Clarke received his Masters of Fine Arts from Stephen F. Austin in 1994.

With his Masters in hand, Clarke headed the art department at Northeast Texas Community College in 1996, eventually moving on to East Central University to serve as assistant professor of art in 1998.

In 1996 Clarke created Artifacts, a collection of four shovels with the blades down, meant to be leaned against a wall.

The top handles are wrapped in colored ribbons: black, green, red and yellow, colors indicative of the American Indian community.

Writing, in black marker, travels around the handle, until the top of the blade.

The four shovels represent his father and one for his three aunts, who are represented on their own shovel by a photograph affixed before the blade.

With the death of Gerald Clarke Sr. in 2003, Clarke and his family returned to the Cahuilla Band of Indians reservation.

When not creating his own work or teaching art at Idyllwild Arts Academy, Clarke runs a storage business with wife Stacy, assists in running the Clarke family cattle ranch, and remains heavily involved in Cahuilla culture.

He is also a frequent lecturer, speaking regionally about Native art, culture and issues.

In 2008 he was elected to the Cahuilla tribal government, which he still serves on.

When not working, Clarke participates in Bird Singing, a traditional form of singing that tells the cosmology of the Cahuilla people.

He is a professor at the University of California, Riverside.

''There are aspects of my work that have evolved over the past thirty years of art making, but some aspects have remained the same.

I have consistently chosen to not have a singular approach to art making; I choose whatever media, format or action that I believe would best express the idea/emotion/concept I am exploring.''

''I also recognize my need for meaning.

While I have a deep appreciation for the aesthetic object and truly enjoy the physicality and craft of making an art object, my ultimate goal as an artist is for my work to have a meaningful interaction with the viewer.''

''In hindsight, I recognize how my perspective of the viewer has evolved.

Early in my career, I sought to educate the non-native viewer about contemporary Native culture.

Over time, I came to two realizations regarding my work and the viewer.

First, by focusing my efforts to educate the non-native viewer, I was neglecting my own tribal community.

Second, the more personal and honest I am in my work, the more universal it becomes.''

''I was raised with a traditional understanding of the world and the importance of community.

I feel a responsibility to share my perspective and the humanity we all share.

I don’t make Native American art.