ABOUT Brittany Kiertzner

Brittany Kiertzner is a multidisciplinary fine artist and an enrolled member of the St Regis Mohawk Tribe, Iroquois Nation. She holds a BFA from California State University, Fullerton. She has completed artist residencies at institutions such as Craft in America Center and Wonzimer WARP Los Angeles. Her work has been the subject of solo exhibitions and numerous group exhibitions nationally since 2007 at locations such as the Benton Museum of Art, CAMP gallery and Wonzimer Gallery.  She has appeared in publications such as Artillery Magazine, Young Space, and 13 Things by Shana Nys Dambrot.  Her work is in the permanent collection of the Sasse Museum of Art and in private collections nationally. She manages her studio in Los Angeles, California at Wonzimer.

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An Exploration of Heritage, Form, and Cosmic Connection in Contemporary Art

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Brittany Kiertzner’s work embodies a dynamic interplay between tradition and innovation, deeply rooted in a convergence of diverse artistic influences and cultural heritage. Through a interplay of woven and stitched threads, her work is influenced by traditional Mohawk Iroquois splint basket making and embroidery.. Drawing inspiration from Native American art history, sculptors such as Lynda Benglis, transformative textile techniques of those like Magdalena Abakanowicz, and painters who look to create realms that are idealistic and spiritual, Kiertzner bridges ancient artistic traditions with contemporary practice. Her works emerge as a  transcendentalist  reimagining of ancestral symbols, interwoven with the use of modern materials and conceptual frameworks.

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At the heart of Kiertzner’s art lies the intricate patterns, textures, and cosmological symbolism of her heritage. Her work often reinterprets materials associated with traditional crafts, transforming them into forms reminiscent of Benglis's bold, tactile compositions. The contorted shapes in her sculptures reflect not only their materiality but also the physical effort of their creation. By piercing, pulling, and warping fiber over wire frames, Kiertzner channels her bodily force into her work, creating dynamic pieces that embody both strength and fragility. Her sculptures, monolithic and totemic in appearance, are typically long, and pointed, constructed from wire mesh, upholstery fabric, plaster, and linear woven fiber. This combination transforms traditional weaving techniques into an intuitive, dimensional form of embroidery. The tactile surfaces evoke a visceral response, blurring the line between organic forms and abstract shapes. These creations resonate with the transformative potential of fiber explored by Abakanowicz in her renowned Abakans. Like Abakanowicz, Kiertzner invites viewers into a world of texture, emotion, and memory through her innovative approach to fiber arts.

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Spiritual and Cosmic Themes

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Kiertzner’s works extend beyond the physical to explore metaphysical and philosophical themes. Her sculptures and paintings often reflect a meditative exploration of cosmic order and spiritual interconnectedness. A recurring motif in her art is the wampum circle (ONKWEHONWEHNE'HA), enriched by tangent lines forming concentric patterns. Onkwehonwehne'ha refers to the wampum circle-- which to the Iroquois nation stands as an sacred democratic object exchanged between chiefs and their clans. It represents significant decisions that codify the rules of coexistence and unity.  Kiertzner's work is an exploration of how these symbols replicate into a non representational idealist critique.  As hands held, each tangent line tightly holding the next--the circle becomes a meditation that will not weaken.  The Iroquois notion is that this circle Teiotiokwaonhaston will always be preserved and expresses non-tangible feelings between humanity.

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The layering of colored circles in her work can also represent the trajectories of stars and celestial bodies, where each circle signifies an individual universe. This symbolism evokes both strict geometric precision and the boundless depth of the cosmos. Through subtle transitions in color and form, Kiertzner conveys an emotional and spiritual resonance, creating art that speaks to viewers on an intimate, almost transcendental level. The interplay of shape and color suggests the movement of cosmic energy, crafting a narrative of interconnectedness that mirrors the interdependence of life and the universe.

 

Ecological and Societal Commentary

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Kiertzner’s art also engages with pressing contemporary issues, including ecology, climate change, water contamination, land-use policies, violence against women and tribal rights. These themes emerge subtly through her choice of materials and almost figurative forms, which reflect a deep awareness of the future of the "indian problem" alongside environmental and cultural sustainability. By weaving these concerns into her art, Kiertzner not only honors her heritage but also addresses broader socio-economic conditions that impact Indigenous communities and the planet as a whole.

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