Painted for Street Wise at the Dairy Arts Center in Boulder Colorado in October of 2019. Featuring Arapaho Shoshone artist, actor and activist Sarah Ortegon over a topographical map of the Wind River Reservation in Wyoming, this mural was created as a way to amplify the epidemic of violence against contemporary Native Women and Girls.
The fossil fuel industry is directly implicated in this epidemic of violence. When they build pipelines in close proximity to Indigenous communities they put Native women and girls at risk of being raped, abducted and murdered by the pipeline workers who are imported and housed in man camps. A critical look at rape culture must include the larger picture of the treatment of the planet herself. Extractive industries treat the planet as something to exploit. Similarly, women are seen as objects to extract pleasure from. Desecrating the earth leads to desecrating women. We are one and the same. Elements of topographical maps highlight the interconnectedness of the human body with the planet. The elevation lines used in cartography echo the mark making used to describe the human body in two dimensional form. One could perceive maps as mankind’s attempt to subjugate the land and as such it provides a curious juxtaposition with activists breaking free from the confines of borders and colonization. Much as the topographical lines in this mural are breaking free from the confines of the boundaries of the pictorial plane. The figure herself refuses to be contained by the rectangular frame of the mural. She is bigger than that. Like a mountain she rises above.
When I began researching this issue in order to inform my creative process, I tried to look up the statistics on the epidemic of violence being perpetrated against native women and girls. I was shocked and dismayed to discover that there are no accurate statistics because of the simple fact that the police and government agencies responsible for solving these cases don't keep track. They don't count them. One can easily conclude that it follows that they don't feel that these women count or matter enough to keep track of. I decided to include hash marks used for counting in the mural. If you look closely, you will see them covering much of the mural. Some are being obscured and some are disappearing altogether behind the map. This is a literal metaphor. I have left some empty spaces as well. These empty spaces are asking the question: how many more? How many more will go missing and be lost to the world; to their children; their partners; their parents and brothers and sisters and friends. How many voices will be silenced; how many more gifts will be lost.
To donate to a non profit that works with women who have been harmed through human trafficking, sexual assault and/or domestic violence please look up
Greta Thunberg has inspired millions of children and grown ups world wide to take action against governmental inaction on the climate crisis.
This is a mural I donated to the Rutland Food Center in southern vermont. I support local farmers and love the way this place supports the community by providing a place for the winter farmer’s market can thrive. They also give away wholesome food to people who need it every wednesday.
In 2018 I was blessed to spend time in Arizona on the Navajo Reservation with Chip Thomas who is the founding director of the Painted Desert Project.
His mission is to connect public artists with communities through mural opportunities on the Navajo Reservation.
to read more about this mural please click HERE
I have a daily studio practice of drawing, painting and screen printing.
Some of the work is destined for the street and some for private collections & gallery shows.
click through each painting to learn more about it's content.
This mural was painted as part of the Not A Crime Campaign in Harlem at PS92 which is located at 222 W 134th St. It is dedicated to the literary activist, Marley Diaz, who at 11 years old created a campaign to increase access to literature featuring african american girls as the protagonist. Her campaign is called #1000BlackGirlBooks
Portrait of Berta Caceres was made using a 1941 Royal Aristocrat Manual Typewriter.
The Portraits of Ilhan Omar and Rashida Tlaib were both created using rubber stamps.
I painted this mural in 2014 in honor of Ta'kaiya Blaney who is an Indigenous Youth activist. She is also a talented singer songwriter and actor as well as a scholar and an advocate for protecting land, water and cultural practices. She is from the Tla’Amin First Nation.
Click through the evolve photo for more information about the history of the mural and the way she has evolved over the years.
This is a portrait of a young Zapotec woman from Tehuantepec Isthmus in Mexico. Her garments are emblematic of the Tehuanas, women who dominate their market places to the extent that in 1970, men were completely banned from selling there. The ban has since been lifted but men are still a tiny minority in their markets. I chose to hold this Tehuana maiden up because in her anonymity she represents her culture more accurately than Frida Kahlo, who was not raised in this indigenous culture yet is an international icon and adopted their traditional garments under the auspices of solidarity with these strong women role models. I am interested in examining the inherent privilege of a woman from the upper class of Mexican society, essentially appropriating their cultural identity as a fashion statement.
Frida’s father was German and her mother was a devout Catholic of mixed heritage; Spanish and Indigenous. No source that I can find specifies what Indigenous tribe her Mother’s Mother is from and so therefore one might safely assume Frida was not raised within an Indigenous community, yet she easily adopted and made her own the cultural dress of the Tehuanas from Tehuantepec Isthmus. This has become her signature look and interestingly, her image has been commodified to such an extent that one might wonder how she would view this considering her own Marxist values. This is not in anyway to discredit Frida Kahlo’s important contributions but moreover to attempt to dissect the commodification of an artist’s self image which was based on someone else’s culture.
acrylic on archival paper
30” x 42”
Yusra Mardini is a Syrian Athlete who, at the age of 17 years old saved a boat full of 20 refugees including herself and her sister by swimming for three hours in the Agean Sea; pulling the boat to safety at their destination in Greece. She swam with the team of Refugees from around the world in the 2016 Olympics in Rio.
Her motto: NEVER GIVE UP
"Never GIve Up"
mixed media on wood
4' x 6'
Lmnopi has been making her appearance on the streets of NYC since 2009. Please be patient while we work to organize the chaos of documentation into something coherent for the viewer. Currently, this is in no particular chronological order. Check back soon as we develop this new website!
If you are a street art photographer and have any great photos of my work, please feel free to email me at email@example.com to share the images. I will give you photo credit.
*Lmnopi - Dec 18th 2017
This page is a work in progress.... Please check back soon as I gather images and write about each mural. thanks for visiting!
In 2014 I was invited to participate in the O + Festival in Kingston, NY by painting a mural on Keegan Ales.
Pretty Nose was a Cheyenne Woman who lived near Fort Keogh in 1878. How she ended up there is unclear, but by piecing together historical accounts, we can sketch out a likely route.
In 1876, the Battle of Greasy Grass, otherwise known as the Battle of Little Big Horn took place very close to Fort Keogh in what is present day Montana. In that battle, the Cheyenne joined the Lakota and Arapaho to defeat Custer. After this defeat, the various groups disbanded as there was not enough grass to sustain their collective horses.
What transpired following this dispersal was years of battling attempts to forcibly relocate the tribes to reservations. It is unclear which band Pretty Nose was part of, but judging by her location in the year 1878 at Fort Keogh, it seems likely that she was with the group led by Little Wolf. However, she could also have been among the group that was imprisoned for a time at Fort Robinson with Red Cloud, who was released and allowed to go join the other Cheyenne at Fort Keogh in that same year.
The figures to the right and left of Pretty Nose in the mural are inspired by the Unity Riders, a contemporary group of Dakota people who make pilgrimages across the US & Canada on horse back as a prayer of Peace and Unity. Each winter, they travel 300 miles to the site of the largest mass execution in US History, which took place in 1862 when Abraham Lincoln ordered 38 Dakota warriors be simultaneously hung in Davenport, Iowa, for war crimes.
Learn more about this yearly pilgrimage here: Dakota 38 + 3
This mural was conceived of and inspired by the stories and journeys of these people and in remembrance of the history of First Nation people which is not taught in American or Canadian schools.
Further impetus for painting this mural was derived by the desire to give respect to Indigenous Women from the past and up into the present day and onwards into the 7th generation because they often go unrecognized in favor of their male counterparts. Major love and respect to the Women.
unsanctioned interventions into the public sphere
The Welling Court Mural Project began in 2009 after members of the Welling Court community met at Ad Hoc Art’s Bushwick gallery, and invited Ad Hoc Art to come up with a vision to beautify their neighborhood.
Lmnopi started participating in the project in 2010 and has painted every year since then.
This is a selection of her most recent contributions to the project. Click through each photo to learn more about the content and to see work in progress shots of each mural.
(check back soon; website currently in progress!)