BY SHALEEN DESTEFANO
It was through our friend, and this month’s cover artist, Danielle SeeWalker, that we first found the work of Angelica Trimble-Yanu. Mesmerized by her paper sculptures, we had to learn more. “Within my paper sculptures, I seek to transcribe light, movement, and time, encapsulating them within tangible forms that serve as conduits for ceremonial expression. For me, landscape is not a static concept but a dynamic arena of cultural practice, where stories are told and traditions are passed down through the generations.” This concept alone is meaningful and begs to be explored. We were lucky have Angelica share her process, inspiration and journey with us.
How did your journey as an artist begin?
My journey as an artist began with a profound exploration of my roots and identity as a child. Growing up, I was adopted and raised in a multicultural household of artists working between film, animation, sculpture, and painting. Being raised around producers and creatives, there was a natural attraction to the means of creating being a part of my being. In College, I decided to pursue a Bachelor’s of Fine Art & Design at the Pacific Northwest College of Art in Portland Oregon, during this time I created a pivotal project, Iyeska that jump-started my career as an artist and activist within the Indigenous Art communities.
You are an enrolled member of the Oglála Lakhóta Sioux Nation from the Pine Ridge Indian Reservation in South Dakota. How has your deep connection to your culture shaped who you are as artist?
My cultural heritage is the heartbeat of my work. Being part of the Oglála Lakhóta Sioux Nation instills a strong sense of purpose in my art, allowing me to explore themes of resilience, community, and interconnectedness. This deep-rooted identity informs my storytelling and connects me to something much larger than myself.
What can you tell us about your process when it comes to your exploration of printmaking and sculpture and what story do you hope to tell through your work?
My creative process is a profound journey of reconnection with ancestral land and heritage. Through traditional Monotype printmaking, I render impressions that evoke the essence of our landscapes, capturing the spirit of my heritage and the sanctity of the He Sapa (Black Hills). In sculpture, I revere traditional forms through a contemporary lens, infusing each paper piece with a deep sense of place and memory. These sculptures are site-specific—crafted within the ancestral lands of the Lakota—where the landscape itself guides their final form. My work stands as a narrative of ceremonial reverence and reclamation, celebrating the sacredness of these landscapes.
Your body of work intersects many mediums. From print and sculpture to fiber arts and photography, how do you see your work evolving?
Each medium offers a distinct avenue for expressing the nuances of my heritage and the environment that shapes it. As my practice evolves, I envision an expansion into more collaborative and immersive experiences, inviting viewers to engage with my work as a shared journey. Recently, I had the privilege of creating a 107-square-foot wall installation for Google’s flagship store in Mountain View, California. Engaging in public art is both a profound honor and a catalyst for growth, enhancing my technical skills while deepening my conceptual approach.
Where do you draw your inspiration?
I draw inspiration from the landscapes of my ancestral homelands, my kin and stories passed down through generations. Every element of my environment holds a story that I am honored to share through my work.
Can you give us a glimpse into your studio?
My studio harmonizes elements of a traditional communal print studio with open space for movement, reflecting the flow of my creative process. Enveloped by images of my homeland, natural textures, and abundant light, it becomes a space where I can work intuitively while nurturing a connection to my roots. The communal atmosphere of print studios is particularly inspiring; being immersed in a community of fellow artists fosters ongoing dialogue and exchange, a dynamic I consider essential to the growth of my practice.
Your work will be displayed in the Denver State Capitol from this November through February. Do you have any other ties to Colorado?
I am deeply honored to participate in this historic exhibition at the State Capitol. Denver holds special significance for me, as my first visit to Colorado was just last year, marking an early chapter in my relationship with my partner. While he was there for airline flight training, I traveled to visit him several times, and Colorado quickly became a place layered with personal memories and new beginnings. This exhibition feels like a beautiful extension of those experiences, connecting my art to a place with such meaningful ties.
What can we expect from you in the future?
I have a couple of very exciting public art and design collaborations coming out in the next year. Stay tuned through my instagram and website!
When you’re not creating art, how do you spend your time?
Outside the studio, I engage as a UX/UI Product Designer with a Los Angeles-based startup. While this role diverges from my fine art practice, it enables me to channel my creative vision into designing applications and websites. Beyond design, I find joy in traveling with my partner, exploring new places, and discovering fashion—a pursuit that continually inspires my sense of aesthetics.
Thank you for sharing your time with us, Angelica. We are honored to know your work and vision. If you’d like to see Angelica’s work in person, she will have a piece in the “This is Native Art” exhibition opening on November 13, from 2-4pm at the Colorado State Capitol. Her work will sit alongside more than 35 practicing Native American artists from around the country, mutually exploring their shared view of Indigenous knowledge. To view Angelica’s vast collection and mediums, visit angeltrimbleyanu.com.