Jeneese Hilton Biography
Where, by whom and how I was raised has a large impact on the imagery and content of my work. My siblings and I were raised by our grandparents on a ranch on the Blackfeet reservation in Montana. I was allowed an unusual amount of freedom to roam the countryside (for which I am forever grateful). I also had access to books and the time to read them and to ruminate on their contents. I developed independence, a love of literature and a love and respect for nature and animals. I don’t think I would have had these passions to such a degree had I been raised in a more conventional mainstream American manner. From my grandparents I also got a dose of opposite points of view. My Grandfather was a good agnostic and a republican of English and German heritage while my Grandmother was a good Catholic democrat of Indian heritage. Somehow they managed to respect and support each other even while disagreeing – traits that don’t come easily to me and I have had to work hard to emulate- even in my paintings. In some ways this upbringing afforded me a narrow and sheltered view of the world but I think it also gave me a strong foundation from which to launch the life that has exposed me to many other cultures and beliefs.
The second biggest influence was that I had the opportunity after college to travel and live in other countries. I spent three years in Micronesia which wasn’t all that different from living on the reservation, but life amongst my fellow Peace Corps volunteers was a big culture shock as was adjusting to the U.S. when I came back five years later. After Peace Corps I traveled in the Pacific and Asia and then returned to the states. In 1982 - 1983 I lived and studied art for a year in Mexico and at various times have traveled back to Asia and to Europe and Alaska.
I finally received my MFA from the U. of Co. in 1990, where I did my thesis show on the affects of beliefs and attitudes on humans and our environment. Then I went to an Eskimo village in the Arctic for temporary work of seven months and I continued to do temporary jobs there for the next five years. I was completely enthralled by their culture which was similar to my own (that I really didn’t know well) but seemed to be more intact and obvious and probably hadn’t changed nearly as much. They had a junior college where I spent much time researching the Eskimo history and culture especially their religious history and the Judeo Christian influence on the culture. I also painted – large paintings (stapled to the floor) juxtaposing the Eskimo culture with Western culture and even some Eastern Taoist beliefs. I continued this theme but added American Indian beliefs to the mix. In 2000 after ten years of researching and getting angry at the Western treatment of Native Americans, I decided to incorporate more Eastern philosophical ideas. I feel the Native beliefs (animism, community rather than the individual etc.) are surpassingly (at least to me) similar to Taoist beliefs and so I could speak to the same ideas but from a more positive angle.
Many of my paintings from the last few years deal with more personal attitudes and recollections – like the aging process and memories. This was due in part to a physical problem that slowed my painting regime and gave me much time to consider these more personal themes. I’m curious to see the journey and the direction my paintings will take.
I have maintained a studio on the Salish Kootenai reservation in St. Ignatius, Montana since 1990. I sometimes visit other countries and cultures and I try to be more flexible in my observations about my own dual cultures. I must add that my paintings often take on a life of their own, regardless of my intentions and I’m fine with that.
Artist Statement
The painting process itself motivates me and is ultimately my main emphasis and struggle. It has taught me many life lessons over the years. It is a balance between having control of the process and letting go. It has taught me the little bit of patience I now possess and how to let go of preciousness when needed. I feel that if I can make the painting work formally the painting works. On the other hand it is the content and research that ensues before and during the process that is interesting to me and motivates and stimulates me to continue. I use both to suggest the effects of attitudes, dogmas and beliefs on all aspects of life (including the environment)
Until 2000 I used references from literature, history, myth’s, Eastern, Western and Native American philosophy/religion and from trivia of many sorts. This includes many hours researching various topics – from games as metaphors for belief systems (hunting, hopscotch etc.) to the imposition of Judeo-Christian values on Native American society. From 2000 the emphasis has been on a lot of these same ideas from an eastern perspective, especially Taoism. I’ve used references from Tai Chi and their corresponding readings from the I Ching as well as ancient woodcuts used to teach enlightenment and getting rid of the Ego
My last group of paintings still deals with these ideas of beliefs and attitudes but from my own personal recollections and expectations. They often refer to the ongoing aging process and the foibles of growing up and growing older. I wasn’t prepared for the humor in many of them as some of these recollections and expectations seemed like very serious matters to my conscious mind. It is fun to discover unexpected attitudes within oneself through this process.