Illuminating Indigenous Creativity: The Native Neon Residency

Igniting New Artistic Expressions: Indigenous Voices in Light

Bridging the Gap: Empowering Indigenous Artists with Neon

Engaging with a novel artistic medium can present considerable hurdles for any artist, especially when dealing with the intricate technical demands of neon. To address this, a pioneering residency has been established to ease the transition for Indigenous artists into this vibrant art form.

A Visionary Collaboration: Walker Youngbird Foundation and Lite Brite Neon Studio

The Walker Youngbird Foundation, a non-profit organization dedicated to championing Indigenous artistic talent, has partnered with the Lite Brite Neon Studio in Kingston, New York, to launch this innovative residency. This program is designed for Native artists who have not previously worked with neon, offering them the unique chance to collaborate with Lite Brite to produce a new piece in this captivating medium.

Unlocking Potential: Inviting New Voices to Neon Artistry

Reid Walker, the founder of the Walker Youngbird Foundation, emphasized in an interview with ARTnews that the program specifically sought applicants without prior neon experience. The goal was to open doors for artists who harbored a desire to work with neon but lacked the necessary access and resources, thereby fostering new artistic explorations.

Introducing the Inaugural Resident: Sarah Rowe's Journey into Light

The first artist to participate in the Native Neon residency is Sarah Rowe, a member of the Ponca Tribe of Nebraska, primarily recognized for her work in painting and installation. Walker highlighted Rowe's artistic focus on identity, ecology, and reimagining Native visual histories, citing her monumental mural Starseeds, which adorns 15 grain silos in Nebraska. He noted that her practice already possessed a strong sense of scale and visibility, and that neon offered a distinct way to extend this visual language into light and public spaces.

A Holistic Selection Process: Embracing Creative Interpretation

Rowe was chosen from a pool of over 100 applicants. Rather than requiring specific neon project proposals, the foundation invited artists to articulate how they would adapt their current artistic methods to a new format. Walker explained that this approach was intentional, as they did not expect artists to fully grasp the medium's nuances, recognizing that the process would be a highly collaborative journey with numerous variables.

Comprehensive Support: Nurturing Artistic Growth

The residency is valued at approximately $50,000 per cycle. The majority of these funds are allocated to the fabrication of the neon artwork, with additional provisions for travel, accommodation, and a $10,000 artist stipend. Crucially, each participating artist retains ownership and intellectual property rights to their creations. The program also covers shipping costs to transport the finished artwork to the artist's home base. Each resident will spend 7 to 10 days on-site at Lite Brite Neon Studios for fabrication, preceded by planning meetings to familiarize them with the medium.

Fostering Creative Freedom: The Importance of a Stipend

Walker highlighted that dedicating about a fifth of the funds to a stipend was a deliberate choice. This financial support enables artists to step away from their daily routines and immerse themselves fully in the creative process at the studio, providing them with the necessary flexibility to innovate and produce their best work.

The Genesis of an Idea: From Acquisition to Inspiration

The concept for a neon-focused residency originated shortly after Walker acquired Watt's 2024 neon artwork, A Shared Horizon (Keepers of the Eastern Door, Reprise), which was crafted in collaboration with Lite Brite. Subsequently, he also acquired Jeffrey Gibson's neon sculpture, My heart beats for the one I love (2024), which he later gifted to the Phillips Collection in 2025. Watt introduced Walker to Matteline deVries-Dilling, Lite Brite's creative director, and their discussions over dinner revealed the significant barriers artists faced in accessing neon. A subsequent visit to Lite Brite's Hudson Valley studio solidified Walker's vision for what would become Native Neon.

Dismantling Barriers: Increasing Access to Neon for Native Artists

Walker explained that neon art requires extensive infrastructure, making it challenging for any artist, and particularly Native artists, to engage with and master the practice. The residency aims to dismantle these barriers, providing more Native artists with the opportunity to explore and create with neon.

A Powerful Visual Language: Stories in Light and Glass

He further elaborated, "Neon works are essentially stories conveyed through charged gas and shaped glass." Walker emphasized the profound significance of Native artists transforming light into their unique visual language, highlighting the importance of Indigenous artists having agency in artistic mediums and vocabularies where their presence has historically been limited.

Expert Guidance: Watt's Role as Primary Advisor

Watt will serve as the primary advisor for Native Neon. Walker noted that her deep understanding of creating finished products and translating her artistic practice into neon will be invaluable. Her involvement ensures that the program is grounded in serious discourse about materials, moving beyond the mere novelty of neon.

Broader Goals: Advancing Native Art and Visibility

The residency aligns with the Walker Youngbird Foundation's broader mission to support Native art. This mission encompasses providing grants for emerging artists, supporting tribal-led community projects, and facilitating the acquisition of Native art by museums. Walker's father, Hans Walker Jr., began collecting Native art in earnest in 2020. Walker's involvement with two Washington, D.C. museums—the Phillips Collection and the National Gallery of Art—led him to establish the foundation in 2024, as he recognized the significant "real barrier to entry for Native art" within mainstream institutions.

Towards Greater Visibility: Expanding Horizons for Indigenous Artists

Through Native Neon and its other initiatives, the Walker Youngbird Foundation aspires to dismantle these existing barriers for Native artists. Walker observed, "We are currently witnessing a moment where Indigenous artists are finally achieving broader institutional visibility." However, he acknowledged that there is still much progress to be made. The critical question, he posed, is into which mediums and spaces this visibility extends. Neon, he concluded, represents one such area that has, until now, remained largely inaccessible to Indigenous artists.