For Daryl Begaye (Diné/Taos Pueblo), art was always present, but not what he pursued until later in his life. He first studied computer science before realizing that his creative spirit was being called elsewhere. Shifting into fine arts, with encouragement from his cousin Garrett Etsitty, opened the door to painting, sculpture, and ceramics. Daryl has been experimenting ever since. Blending his heritage with his own curiosity, never content to stay in one style or medium.
Today, despite the demands of his day job and limited studio space, he continues to create. His work combines shapes, colors, and techniques that are both familiar and surprising. Some draw on what he knows from his community, others come from his own vision, but each piece carries his voice. In this interview, Daryl discusses the people and places that inspire him, the shifts he observes in contemporary Native art, and why he believes in creating on his own terms.
Q. What first drew you into art, and are there particular people, places, or experiences that continue to fuel your creativity?
I would say, what drew me BACK into art was my cousin (my brother), Garrett Etsitty, and the art classes I took at Diné College. My major was Computer Science, but I ended up changing it to Fine Arts 🤷🏽♂️. A lot of my creativity comes from experimenting with different art styles and/or mediums, or trying different techniques. I want my art to be different from my art friends, from traditional Native art.
Q. Your work spans painting, sculpture, and ceramics. How do you decide which medium feels right for the story or idea you want to express?
I currently don’t have the workspace or equipment for any sculpture or ceramic projects, so I am focused on painting. Although I would love to get back into ceramics, I had an experimental collaboration with a potter that yielded amazing results, and I would like to create more pieces like that, but using my own pots.
Q. Are there specific cultural teachings, family influences, or community traditions that shape the imagery and symbols in your art?
Definitely, there are some imagery and symbols from other art pieces I’ve seen growing up that I’ve used. Now, I’m half Navajo and Taos Pueblo, I didn’t pick up a lot of the traditional teachings or stories because I don’t understand or speak Navajo or Tiwa (thats my own fault), so, I’m not going to use something I don’t know the meaning of, the story, or the teaching of when it can be used. So my use of shapes and symbols is limited.
Q. How has your practice evolved? Do you see recurring themes or visual language in your work that connect your projects?
So, almost all my paintings are experiments where I’ve tried different techniques, styles, or mediums, and I’m currently at the stage of combining these experiments to create something new.
Q. When you imagine your future body of work, what kinds of projects or media do you hope to explore that you haven’t yet?
I have many ideas and media I want to try blending together; however, I just don’t have the time to fully explore my creativity, as my day job demands most of my attention.
Q. Where do you see contemporary Native art headed in the next decade, and what excites you most about that direction?
The amount of creativity that has emerged over the past decade has been incredible and inspiring. Take a look at the works by Patt Pruitt, Ray Scott, Garrett Etsitty, and Gilmore Scott. The future of Native Art, of Indigenous Art, is constantly evolving and adapting to new techniques and technologies. That is what piques my curiosity: who will create the next exciting masterpiece using these techniques and/or technologies?
Q. Do you feel that Native artists today are being recognized for pushing creative boundaries, or are stereotypes about what “Native art” should look like still limiting perception?
Only a select few artists are chosen to be recognized. By that, I mean that as artists, we’re all reaching for that spotlight, for that recognition that will change our lives. However, at the same time, I feel that those who are left out of the spotlight often fall into the stereotype trap: “my art isn’t selling, maybe it’s not Native enough,” “I should paint cowboys and Indians,” “maybe I need more Native designs.” You can’t blame them for falling for that trap because there are collectors who only purchase those kinds of stereotypes, mainly the older collectors.
Q. What role do you think exhibitions and institutions play in changing how people understand Native art, as something alive, diverse, and innovative rather than confined to the past?
I hate to admit this, but they have a very important role; these exhibitions and institutions literally wrote the definition of what Native Art is and who Native Art is. Recently, some of these institutions have begun to recognize that Native Art is evolving and more than just “cowboys and indians.” However, they’re only allowing a select few in; they wouldn’t want to overrun the market and push out the old money just yet.
Q. Some artists talk about the tension between creating work that’s true to themselves and producing what the market expects from Native artists. How do you navigate that balance?
For me, there is no struggle, nothing to navigate, I’m not going to let anyone tell me what to create or that my work isn’t “Native enough.” I’ll always create what I want, when I want. If my work evokes an emotion in a customer, then I’ve done my job as an artist; if it sells, great! If it doesn’t sell, the market may not be ready for it.
Q. If you could shape the conversation around Native art today, what would you want audiences, both Native and non-Native, to understand about its place in the global art world?
Native Art isn’t just “cowboys and Indians” anymore; very few of us even ride horses anymore. Native Art has evolved, crossed boundaries into other media and genres. Native Art is now more than just jewelry, pottery, paintings, and crafts. Native art encompasses a wide range of genres, including pop art, printmaking, photography, modeling, fashion, and entertainment; a Native Artist can be found in almost any art form.
What stands out in Daryl’s story is his refusal to compromise his vision. He knows where he comes from, and he knows that Native art is not a single tradition locked in the past. It grows, it adapts, it takes risks. His paintings and experiments demonstrate that Native artists don’t need to conform to expectations to be powerful or meaningful.
Every piece he creates carries both his heritage and his imagination. His work demonstrates that Native art can take any direction it chooses, and that its future is as open and full of possibility as the artists who carry it forward. Daryl Begaye is one of those artists, and his journey is just getting started.
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