Indian Art

DOME OF THE FOUR DIRECTIONS

ONE OF THE BEST-KEPT SECRETS of the Southwest art world a dramatic mural created by Navajo David Johns embellishes the dome of a sixth-floor conference room of a European Renaissancestyle building on 44th Street north of Thomas Road in Phoenix. "I was guided in what to paint," says the artist, 42, a well-known creator of abstracts and portraits. "The star in the center is a symbol of light. The Diné [the Navajo people] came to life through that light." Surrounding the star are thundercloud designs painted in the colors of the four directions: white is the east, blue the south, yellow the west, and black is the color for the north. Around the central star are landscapes and animated figures subtly blended with legendary spirits, native symbols, and abstract designs. "I went back to my heritage for inspiration," Johns says. "I wanted to represent all Indians. Many of the Plains Indians have lost everything: their land, their traditions, their heritage. The Southwest tribes are holding onto their culture, and I want to see that continue." Commissioned five years ago by Albert Wareing, president of Case Construction Company, the task required nearly three years of planning and execution before the 1,600-square-foot mural, rising 50 feet above the floor, was completed. The planning, which occupied several months while the building was still in construction, required Johns and his family to research the history of a number of Indian tribes as well as drawing and redrawing rough sketches. In mid-March of 1988, actual work onINSIDE A PHOENIX OFFICE BUILDING, AN ARIZONA ARTIST CREATES A NAVAJO 'HOLY PLACE' David Johns' huge mural encompasses elements representing many tribes. (CLOCKWISE FROM TOP) The San Francisco Peaks, sacred to the Navajo, loom above Wupatki ruin, home of the Ancient Ones. Holy Young Man dominates the northern portion of the mural. Sacred eagles soar near a Tohono O'Odham basket. Plains Indians ride on horseback. (BELOW) The artist spent months experimenting with different concepts for the mural.

The mural began while craftsmen finished plastering and cold winds whistled through glassless windows. Complicating the painting, too, was having to work atop a four-story-high platform that swayed and vibrated, creaked and groaned as Johns nursed his secret fear of heights. While the mural grew, problems with proportion and perspective were ever present. Curved walls made straight lines appear curved when viewed from below, so horizon lines had to curve downward at both ends to correct the optical illusion. Figures also had to be disproportionate to achieve proper perspective. Compounding the enormous task for the artist was the problem of having to climb down from the scaffold and roll it to the side before he could judge his efforts. Add to that the numerous breaks in concentration brought about by the arrival of visitors to see the mural. But perhaps the greatest inconvenience was the arrival of summer weather when the upper portion of the dome became a virtual furnace stoked by the building's windows, which acted as solar heaters. The heat combined with dust, noise, and fumes from freshly lacquered woodwork made the project all but unbearable at times. Except for occasional visits during this two-year period, Johns lived apart from his wife and four children, who remained at home in Winslow. When the dome portion of the mural was completed in December of 1988, a dedication ceremony was held, but Johns' work still was far from finished. Nine months would pass before he was done with the four wall panels in the lower portion of the dome.

On September 15, 1989, Johns at last returned to his family. The job was done. And it was extraordinary. But something else something very important to the young artist's religious beliefs had to be accomplished. That came five months later when Johns returned to his creation with his uncle Dudley Yazzie. The elder, a shaman, opened a sacred bundle, and corn pollen was sprinkled in the room as blessings from the Holy People were petitioned through prayers and songs of the Blessingway Ceremony. "I wanted to honor my people with this mural," Johns says. "And I also wanted it to be so spiritual that walking into the room would feel like entering a cathedral. I think of it as a holy place."

Author's Note: Individuals can view the David Johns mural during regular business hours in the Concorde Place at 2999 N. 44th St., Suite 600; groups should call ahead, (602) 955-5800. The artist's paintings can be seen at Scottsdale's Lovena Ohl Gallery, which also exhibits jewelry by Sonwai, (see Arizona Highways, Feb. '92).

Additional Reading: To learn more about the artist and to see many of his Stunning abstracts and evocative portraits, we recommend David Johns - On the Trail of Beauty, a large-format book with text by Lois Essary Jacka and photographs by Jerry Jacka. The book is available through Arizona Highways for $40 plus shipping and handling. For information, or to place an order, tele phone toll-free 1 (800) 543-5432. In the Phoenix area, call 258-1000.

The busband-and-wife team of writer Lois Essary Jacka and photographer Jerry Jacka specializes in American Indians and their art.

Jerry Jacka's photographs also appear with an article about Navajo rock art in this issue.