by Natalie “Lee” Arneson
Paige Pettibon is an artist based in Tacoma, Washington. Her medium focus is acrylic painting, but has extended to fiber art, beadwork, digital design, and other media. Paige is Black, White, and Salish (from the Confederated Salish and Kootenai Tribes). She is influenced by her multicultural background, and identifies as a community artist. She continues to grow within the Indigenous community by learning the Lushootseed language, tribal songs, and art.
CPJ: Did you have any one experience that drew you to art or made you decide to pursue this path as a career?
As a child I had a proclivity for creating with my hands. I’ve always been an abstract thinker and believe my best form of communication is visual. I stepped away from creating art in my late teens to early 20’s. At this time I wasn’t living my best self and didn’t feel whole. I knew I had to make some changes. Through artistic expression and education I was able to rebuild myself and heal. I would have to say denying this path as a career didn’t feed me in all ways one can be fed, emotionally, physically, mentally, and spiritually. It took time to phase other work out and more artwork in. The money I earned went towards art supplies and my education. I spent my time in community and academia, which still informs my work. When covid became a global pandemic, I stopped my part time nanny job and was fully committed to my career as an artist.
CPJ: How would you describe your art style as it is now? Did it go through transformations over the years, or has it been fairly consistent?
My style is very eclectic. I like to try new things, and I really like to learn and problem solve. I try not to conform my artwork to one category or style. I like to think of my art practice as more of a holistic approach rather than identifying it as a type of style. I try to use different mediums to evoke a different feeling or tell a type of story. Sometimes the process is the art in itself; sometimes my work isn’t finished until it is on display for viewers to hold and have a moment with.
CPJ: Do you gain inspiration for your art through the land you’re on/the environment you’re surrounded by? If so, would you like to elaborate?
I was born and raised in Tacoma. I’ve never lived anywhere else for more than a few seasons. The land and environment inspires my work beyond my understanding. I think it would be easier for an outsider to identify the difference between my work and that of one who lives in the southwest. For me it’s what I know, a perspective that is genuinely from my experiences, my community, and the land. The more I learn from the land the stronger my cultural ties become. I believe when I stop to listen to what the land is telling me, I can become a stronger steward and representative. Therefore the reciprocal giving of respect grows deeper.
CPJ: Does your identity have a strong influence over your art? If so, in what ways?
My identity strongly influences my artwork. I want to express my intersectional racial and cultural identities. However it can be frustrating to be categorized as just an Indigenous artist. I’m Afro-Ingenious, a woman, an aunt, a daughter, a sister, an artist, and just a human being. I know that people mean well when contextualizing my work but sometimes I feel like it would just be nice to create work and let the viewer feel how they feel about it without giving a brief history of my culture. Most of the time I don’t want to explain my work but let each viewer’s individual interpretation resonate with them. I want them to reach their own understanding, or be inspired to dig deeper. I’m always battling the freedoms that one desires when being disenfranchised. The freedom to be understood without explanation. The freedom to walk down the street in regalia without someone wanting to take a picture of me or asking me to tell them why I look this way. Identity can be funny that way. Sometimes I’m happy to explain my identity and sometimes I’m tired of contextualizing my existence.
CPJ: What has your experience creating art been like, especially since throughout history art has largely been gatekept by white people and is largely influenced by Euro-centric standards?
I like to say that I am indigenizing these spaces. Some folks are decolonizing; however for me that still centers around what is colonized and tearing it down. Not to say there is anything wrong with that. All of this work is important. It’s just better for my mental health to see a space as wanting to be indigenized. We have a lot of work to do as far as diversifying art, but I can say most of my experience in changing spaces has been well received by those who encounter it. Also, my experiences with working with non natives or non black folks hasn’t hindered my artistic expression. I still have to do some educating and contextualizing to help them understand my work, but for the most part I believe people in these positions understand the importance of diversifying the art world.
CPJ: Is there a piece you are most proud of at the moment, or one that you just really love? Would you like to share with us a bit about it?
It’s so hard to pick one piece to highlight. I really love the portraits I’ve painted, because it gives me a chance to truly connect with the person I’m painting on a deeper level. Some pieces of jewelry really bring me joy and then when a customer shares themselves wearing my art I get a hit of dopamine. Sometimes I really don’t like the art I made, but thank the piece of work for providing me a lesson. I’m proud of the work I did for the Smithsonian. It will be in a virtual exhibition soon. Most of the work I make is sold and I’ll never see it again. So I think I’m most proud of creating art that brings others joy beyond my knowledge. My dream is to leave a lasting legacy and I believe I’m doing that, so my art career as a whole is my proudest achievement.
CPJ: What does your art mean to you?
Everything! Art is in the most dramatic sense my saver and I would NOT like to know how I would be without it. Art is so tied to our human experience; it’s one of our senses. It’s our way of recording humanity. It’s reflective, thought provoking, insightful, scary, beautiful, uncomfortable and above all 100 percent necessary for our salvation.
CPJ: Are there any last words or final thoughts you’d like to share as we wrap up this interview?
I’d like anyone who needs to hear this to know that whatever work you were made to do, this is your sign to do it. Make it good for humanity, make it good for yourself, and make it good for the generations to come.
More about Paige Bettibon and her work can be found on her website, https://www.paigepettibon.com, and on Instagram under the handles @Plain_to_sea (jewelry) and @paige_pettibon (artwork).
