Some artists paint what they see, but Garrett Etsitty paints what he knows, what he’s lived, and what his people have carried since time immemorial. Born and raised in Chinle, Arizona, this Diné artist pulls from the petroglyphs etched in canyon walls, the stories of his elders, and the landscapes that have shaped him and his communities. His canvases are alive with color, texture, and motion, carrying the weight of tradition while pointing boldly toward the future.
Garrett takes the teachings of the past and spins them into visions that speak to today’s youth, inspiring them to carry culture forward into the futures they create for themselves. Every layer, every hue, is a bridge between the unbroken loop of creation stories and the possibilities yet to come. Through his art, the past, present, and future don’t just coexist; they thrive together.
Q. You describe your work as a fusion of abstraction and storytelling, what are the first sparks of inspiration that guide a new piece from idea to final form?
I usually start with a simple line that transforms into an image, and I continue the process without planning the art, going along with it.I usually begin my creative process with a simple, guiding line that gradually evolves into a full image. As I work, I embrace spontaneity and allow the art to develop organically, without a predetermined plan. This fluid approach allows me the freedom to explore different ideas and techniques, letting the artwork unveil itself as I go along spiritually.
Q. What role does music, memory, or language play in your creative flow? Are there certain sounds or stories you revisit when you’re painting?
I often reminisce about my late brother, Joey Thomas, who passed away too young, and I miss him dearly every day. He was not only a talented artist known for his intricate portraits back in middle school, but he also had a unique ability to capture emotions through his work. Growing up, I admired his dedication and passion for art, always looking up to him and aspiring to be like him in my own creative endeavors.
When it comes to music, I have eclectic tastes and enjoy a variety of genres, but I especially love boom bap. This subgenre of hip hop, characterized by its use of looped drum beats and melodic samples, resonates with me for its repetitive, hypnotic flow. I often find that listening to boom bap makes my paintbrush dance across the canvas, allowing me to express my creativity and emotions through my artwork, much like Joey did.
Q. You often work with bold colors and layered symbolism, do those visual choices emerge intuitively, or are they mapped out with specific cultural meanings in mind?
When creating indigenous art, I tend not to mimic ceremonial images because they hold a specific place of healing within their culture. Instead, I have developed a unique style of Indigenous Pattern that can resonate with people all over the world. While my art looks indigenous, it is meant for everyone. I don’t usually plan my images; sometimes, it feels as if Mother Earth and the Creator are guiding my hand as I hold the paintbrush.
Q. What materials or mediums do you feel most at home with, and how do they help you bring your visions to life?
I have a deep passion for exploring a diverse array of mediums, from the vibrant hues of acrylics and the rich textures of oils to the bold expressions of aerosol and the precision of markers, as well as the earthiness of natural pigments. Each medium contributes its own distinctive qualities, shaping my techniques and influencing my artistic style. My main focus lies in embracing style, pushing creative boundaries, and continuously challenging myself to evolve as an artist.
Q. How do you balance the sacred and the experimental in your work?
My art is spiritual, and I have my medicine paint ready for battle as I explore the world. Life is full of challenges, and dealing with them spiritually is definitely needed when challenging yourself.
Q. Growing up in Chinle, what are some of your earliest memories of making or witnessing art?
I watched my grandmother collect natural pigments for her rug projects and study the hieroglyphics in the canyon walls, drawing inspiration from the ancient works. I also used to draw a lot in the sand during ceremonies throughout the night, entertaining myself.
Q. How has your journey as a Diné artist shaped your voice and what stories have you felt most compelled to tell?
I believe that creating art is much like raising a horse. It takes time to train, requires offerings, and demands your love. As the horse matures, it begins to travel, and people will recognize it by the war paint you decorate it with. This recognition can bring opportunities your way, and as long as you take care of it and challenge it with different obstacles, it will ultimately take care of you in return. Love my art horse and love to share this teaching with those who are getting into art.
Q Were there particular mentors, artists, or cultural figures, within or beyond your community, who shaped the artist you are today?
The entire hip-hop community from the late ’80s and ’90s had a significant influence on me, especially in terms of handwriting styles, dance styles, and music. At that time in the early 2000s, I noticed that Indigenous art was not being fused with hip-hop culture, so I decided to merge the two. Later on, I observed that this combination became a trend. I still have some of my early pieces and consider myself one of the pioneers. Indigenous Southwest Funk
Q. How does your experience navigating both urban and reservation spaces inform your visual storytelling?
When I connect different cultural worlds, my work emphasizes both their differences and similarities. It reveals how cultural backgrounds adapt to create new expressions and how urban elements can be understood through Indigenous stories. I often create new geometric patterns that are adopted and reimagined in innovative ways, similar to the art of sampling. We are all influenced by other cultures, and while we incorporate elements from them, we add our own unique touches to create something new.
Q. As someone whose work centers Indigenous identity and futurism, how do you define “resistance” and “resilience” through your art?
In my work, resistance means reclaiming our stories and rejecting erasure while focusing on cultural preservation for the youth. Resilience to me is about carrying my culture forward with style. My grandfather taught me that in order to carry on and lead, you have to truly live it. Inspired by this, I decided to embrace my heritage with style! I am committed to evolving our culture into a future where Indigenous presence is thriving and unshakable.
Garrett Etsitty’s work is a living, breathing act of cultural preservation and spiritual resistance. With his medicine paint at the ready, he carries the stories of his people forward, weaving the wisdom of the past into visions of the future. Bold, layered, and unflinching, his art speaks directly to the next generation, inviting youth to see themselves in the colors, patterns, and stories that shape their heritage. In every brushstroke, Garrett reminds us that culture isn’t static. It’s alive, evolving, and unstoppable.
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