"Law of Opposition" (Print)
Small 8″ ✕ 10″
Medium 16″ ✕ 20″
Large 24″ ✕ 30”
Osceola, a prominent Muscogee-Creek/Seminole leader, at the moment he is stabbing the Treaty of Payne's Landing. The Treaty of Payne's Landing was an agreement signed in 1832 between the United States and several leaders of the Seminole tribe. The treaty aimed to relocate the Seminole people from their ancestral lands in Florida to designated Indian Territory west of the Mississippi River. This was part of the broader Indian Removal policy pursued by the U.S. government during the 19th century. The treaty stipulated that the Seminoles would move within three years, but it was met with resistance from many within the tribe, leading to the Second Seminole War when the U.S. attempted to enforce the relocation.
Osceola's act of defiance against the U.S. government's efforts to remove the Seminole people from our lands in Florida is a powerful symbol of resistance and courage. This moment, captured in my painting, highlights Osceola's unwavering commitment to our people's sovereignty.
In 2016, I traveled to Florida with Kenneth Johnson and Enoch Kelly Haney, who painted Oceola in the 1980s. Both artists have greatly influenced me. Haney's work, one of the few visual representations of that moment, originally inspired me to become a painter. For my piece, I included a ring by Kenneth Johnson and used the same framing as Haney's original painting. Since I've been exploring Creek history and flat style, I also incorporated a background influenced by Fred Beaver.
Small 8″ ✕ 10″
Medium 16″ ✕ 20″
Large 24″ ✕ 30”
Osceola, a prominent Muscogee-Creek/Seminole leader, at the moment he is stabbing the Treaty of Payne's Landing. The Treaty of Payne's Landing was an agreement signed in 1832 between the United States and several leaders of the Seminole tribe. The treaty aimed to relocate the Seminole people from their ancestral lands in Florida to designated Indian Territory west of the Mississippi River. This was part of the broader Indian Removal policy pursued by the U.S. government during the 19th century. The treaty stipulated that the Seminoles would move within three years, but it was met with resistance from many within the tribe, leading to the Second Seminole War when the U.S. attempted to enforce the relocation.
Osceola's act of defiance against the U.S. government's efforts to remove the Seminole people from our lands in Florida is a powerful symbol of resistance and courage. This moment, captured in my painting, highlights Osceola's unwavering commitment to our people's sovereignty.
In 2016, I traveled to Florida with Kenneth Johnson and Enoch Kelly Haney, who painted Oceola in the 1980s. Both artists have greatly influenced me. Haney's work, one of the few visual representations of that moment, originally inspired me to become a painter. For my piece, I included a ring by Kenneth Johnson and used the same framing as Haney's original painting. Since I've been exploring Creek history and flat style, I also incorporated a background influenced by Fred Beaver.
Small 8″ ✕ 10″
Medium 16″ ✕ 20″
Large 24″ ✕ 30”
Osceola, a prominent Muscogee-Creek/Seminole leader, at the moment he is stabbing the Treaty of Payne's Landing. The Treaty of Payne's Landing was an agreement signed in 1832 between the United States and several leaders of the Seminole tribe. The treaty aimed to relocate the Seminole people from their ancestral lands in Florida to designated Indian Territory west of the Mississippi River. This was part of the broader Indian Removal policy pursued by the U.S. government during the 19th century. The treaty stipulated that the Seminoles would move within three years, but it was met with resistance from many within the tribe, leading to the Second Seminole War when the U.S. attempted to enforce the relocation.
Osceola's act of defiance against the U.S. government's efforts to remove the Seminole people from our lands in Florida is a powerful symbol of resistance and courage. This moment, captured in my painting, highlights Osceola's unwavering commitment to our people's sovereignty.
In 2016, I traveled to Florida with Kenneth Johnson and Enoch Kelly Haney, who painted Oceola in the 1980s. Both artists have greatly influenced me. Haney's work, one of the few visual representations of that moment, originally inspired me to become a painter. For my piece, I included a ring by Kenneth Johnson and used the same framing as Haney's original painting. Since I've been exploring Creek history and flat style, I also incorporated a background influenced by Fred Beaver.