MEZTLI PROJECTS

Meztli Projects supports the creative development of Native and Indigenous artists.

We were founded with the intent to address the severe lack of artistic opportunities for Native and Indigenous Artists as-well-as systems-impacted youth living and creating in Los Angeles County (Tovaangar). This work takes shape in several forms such as for-hire opportunities, advocating for truly equitable resources such as but not limited to funding and culturally authentic (not just relevant) programming, and training future and emerging cultural workers. 

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Artist Info
DOC 234—34/2


Kimberly Robertson

goldenrobertson@gmail.com

@kdrslaysthepatriarchy


Kimberly Robertson is a citizen of the Muscogee (Creek) Nation, a Professor of American Indian Studies, and an artist. Her scholarship and creative practices center Native feminisms, the sexual and gendered violence of settler colonialism, ceremony, storytelling, decolonization, and Indigenous futurities. Her artworks have been included in numerous community, university, public, and private galleries as well as peer-reviewed monographs and anthologies. In the spring of 2024, The Chapter House hosted Robertson’s first solo-exhibition, Diary of a Native Femme(nist). Robertson is also an active member of the Los Angeles Indian community and facilitates beading circles and art-making workshops with Tribal Nations and communities, both locally and nationally.



In her series titled Deer Woman featuring four beaded tapestries Robertson addresses the issue of violence against Native femmes. The tapestries hang from golden clothes hangers and are finished with strands of fringe that end in knives disguised as lipsticks. Robertson writes that this work “explore[s] the tension between the beauty and the danger that comes with embracing Native femme identities under settler colonialism and cisheteropatriarchy.”




Her beaded tapestries titled Haunting (Journalists; Medical Workers; Humanitarian Aid Workers) speaks to the relentless and intentional torture, criminalization, incarceration, and murder of journalists, medical workers, and humanitarian aid workers have been a key strategy in the Israeli genocide of the Palestinian people. Robertson’s series aims to “honor the martyrs whose lives have been stolen and to call attention to both the atrocities of genocide and the inextinguishable spirit of Palestinian resistance.”

Deer Woman and Haunting were on view during Meztli Projects’ exhibition Waning Crescent at OXY ARTS located at 4757 York Boulevard, Los Angeles, CA 90042 (June 12 to July 19, 2025).


Similar Artists
Barry Ace (Anishinaabe (Odawa))
Mona Cliff (Aaniiih/Nakota):  IG Profile
Jeffrey Gibson (Choctaw/Cherokee):  IG Profile

More Art
kimberlydawnrobertson.com



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Exhibition Photos by Miranda Aquino and OXY Arts 

                                                                                                                                             


Waning Crescent, a meztli projects group show        

This group show celebrates the journey of meztli projects in supporting Native and Indigenous artists. The exhibition features works created between 2024 and today by artists engaged in their collaborative ecosystem. These pieces signify a new phase for the artists, showcasing growth into new creative realms. For instance, River Garza and Emilia Cruz have evolved toward sculptural work, Kimberly Robertson's intricate beadwork creations into large beaded tapestries, and Kenneth Lopez's documentary photography blended into woven visions.

Meztli is the Nahuatl word for "moon." For this collective, the moon and its phases symbolize their approach to cultivating relationships with young Indigenous artists, culture bearers, and the general public. Taking time to reflect on important values such as stewardship, the meaning of reindigenizing spaces and technologies, and the deep connection between ceremony and artmaking. Their work mirrors the changing seasons and is responsive to the moment.

A waning crescent represents the small sliver of the moon visible just before it enters the New Moon phase. This exhibition symbolizes what comes next for meztli projects and highlights their partnership with OXY ARTS, which has hosted various creative efforts and exemplifies a nurturing, reciprocal relationship for Indigenous artists and institutional spaces.







Exhibition Photos by Miranda Aquino and OXY Arts 


                                               


What We Leave, What We Keep, 2025 by Cj Calica

I photograph people in the spaces where they feel most like themselves like their bedrooms, studios, living rooms, anywhere they call home. These spaces tell stories. They hold the messiness, the comfort, the quiet moments that often go unnoticed but mean everything.

Growing up, my room was my sanctuary. It was the one place I felt grounded. But after moving during high school and again in college, that sense of home started shifting, from my childhood bedroom to a dorm room, to a small apartment in Koreatown. And when the Eaton and Palisades fires hit, it made me think deeply about how fragile and important these spaces are. I realized how easy it is to take them for granted.

This project is about honoring those personal spaces and the people in them and just as they are right now. I use a Sony A7iii with a Sigma 24-70mm lens and a Flashpoint eVOLV 200 Pro flash, keeping lighting true to how my subjects actually live in their spaces. I want these images to serve as a time capsule, a way of holding onto something we’re always growing out of. Because we don’t live very long, and our spaces change, but in them, we find pieces of ourselves.





Opening Night
Exhibtion Photos by Miranda Aquino

                                                                                         
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