Native American connection

History behind couple's Indian art makes every piece a conversation piece

By Mike Bratten
Caller-Times
 

Reba Graham/Caller-Times

Beaded pillows in the basket were created by the Iroquois tribe from about 1900-1940 for tourist consumption, Gordon Miller said. Non-Indians called them ‘Iroquois whimseys.’

   When the stories behind the Native American art in Gordon and Shirley Miller's home are told, they cease to be simply moccasins, figurines and woven blankets. They become tangible connections to the people who made them.
   "The thing that amazes me is that all of this is done free-form," Gordon said, pointing to a blanket in the living area that is woven with an array of red, black and gray geometric patterns. "A Navajo woman would sit under a tree in front of a wooden loom and create that work of art, all from her mind."
   The spiritual nature of the craftsmanship, in which every object is carved, woven, stitched or painted with respect to its spirit within, drew the couple into collecting Native American art in 1991. When they married that year in Illinois, they decided to go with a Southwestern theme in their newly built home. But the department store decor they browsed at lost its appeal when the Millers visited an Indian art gallery.
   "It just opened our eyes up," Shirley said. "We didn't know anything about these things. The owners spent hours with us talking about the Native American culture."

Reba Graham/Caller-Times

The tomahawk (left) is a reproduction of those made by Northern Plains tribes, and the ceremonial device (right) features deer claws that are used to make noise in dances and celebrations.

   After years of attending art shows and pow-wows and developing relationships with Native American people, the couple acquired a collection of art that is almost too large for their new home on Padre Island. Pieces can be seen displayed in their foyer from the outside the home.
   'Museum-quality piece'
   Framed sand-paintings in the front hallway, with their intricate, fine lines of colorful sand, depict deities that are sacred in the Navajo culture, Gordon said.
   "These are made with particle board that they've coated with epoxy. They have the picture in their head and they sift the colored sand with their hand. I just think they're beautiful."
   He also finds beauty in artifacts such as dresses, baskets and pottery that show evidence of use by Native Americans. Among the numerous items displayed on a ledge and railings above the Millers' living area is a Plains Indian saddle blanket that dates back to 1870.
   "You can see that it's been used," Gordon said. "The canvas has a tear in it. That's a museum-quality piece."
   Displaying their elaborate collection in the 2,600 square-foot home without making it look like an overcrowded museum was a challenge, Shirley said. The couple hired Mavis Waterman and Fred Galvan, designers at Ethan Allen, to solve the problem.
   "Each piece has its own history, so we had to show them off to their best advantage," Waterman said. "The house lent itself to that with all its ledges and loft areas. The pieces are displayed to their fullest potential and the house is still warm and inviting."
   Appreciating the history
   A colorfully painted cigar store Indian occupies a corner of the ledge, and a white leather ceremonial dress made by Yakima Indians of the Northwest stands near a porcupine quill basket. Moccasins, one of Gordon's favorite artifacts, are spread along the ledge and throughout the house.
   "These are Kiowa with a Northern Plains influence," he said, holding a pair of yellow high-top moccasins. "The Indians would paint the hide with a yellow dye made from plants, then they'd do the beading. This dates to the turn of the century."
   Shirley said although she never expected the collection to grow so large, she appreciates the rich history behind the art.
   "We always have something to talk about when we have guests."
   Gordon, marveling at a hand-carved figure of a man adorned in eagle feathers, said his passion for Native American art lies in his identification with the culture.
   "I have a little bit of Cherokee blood in me," he said. "I feel a sense of belonging to the Indians. And probably the reason that I collect as I do is I want to be sure that this culture is preserved and passed on."
  

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