Although little is known of the intensely private artist, Nidichi, we are learning more about him and his work from close friends of the artist. Those few who really know him say that Nidichi is a spiritualistic thinker who views the world around him from a very different - more universal - perspective than most and connects to it in ways that few can even imagine.
Some believe Nidichi to be a mystic or a shaman. When asked if he is a holy man he thoughtfully responded that "all human beings are holy and they would do well to contemplate that and act accordingly."
When asked why he declines invitations to appear and speak about his work, Nidichi explains that his art is a very personal message to those who find their answer within his artistic expression. He claims that the inspiration and the message given to him comes from the Universe and that he is merely its messenger.
He points out that throughout history human beings have foolishly aggrandized and even deified the messengers sent to them. However, they soon forget the messages and eventually slip back into the abyss of ignorance.
Art is intimately personal
Nidichi considers art to be a very personal, even intimate, form of communication between the artist and the observer. He explains that there is, initially, a visual attraction between the observer and the art as we study the subject matter, the shapes, perhaps nuances of form, technique or the color pallet chosen by the artist. This takes place on the left-brain intellectual level. Nidichi points out that there is also a communion on a deeper, more subtle, spiritual, or right-brain level that can evoke feelings in the observer which can span the whole gamut of human emotions depending upon who is observing. According to Nidichi, this is why we humans have such an appreciation for and value our art.
He points out that throughout history human beings have foolishly aggrandized and even deified the messengers sent to them. However, they soon forget the messages and eventually slip back into the abyss of ignorance.
This poster announced the annual NARF art auction which prominently lists
Nidichi as a contributing artist. Clicking on it will enlarge it to view details.
Nidichi as a contributing artist. Clicking on it will enlarge it to view details.
Art is intimately personal
Nidichi considers art to be a very personal, even intimate, form of communication between the artist and the observer. He explains that there is, initially, a visual attraction between the observer and the art as we study the subject matter, the shapes, perhaps nuances of form, technique or the color pallet chosen by the artist. This takes place on the left-brain intellectual level. Nidichi points out that there is also a communion on a deeper, more subtle, spiritual, or right-brain level that can evoke feelings in the observer which can span the whole gamut of human emotions depending upon who is observing. According to Nidichi, this is why we humans have such an appreciation for and value our art.
He goes on to explain that there is an interaction between the observer and the energies infused into the art piece in the course of its creation by the artist. It is at that level that the art intrigues the mind, speaks to us, moves us, or feeds our soul. It is the artist’s ability to communicate to the observer that subtle, seemingly personal message - the "answer" - as Nidichi puts it, that imparts to art its value. This explains why appreciation of art is such a personal thing, as sometimes the answer is not intended for everyone.
According to Nidichi, it is for that reason and that reason alone that an original piece can command such high esteem and value. It is literally infused with the artist's original thoughts and energies of inspiration, frustration, anger, love, defeat or triumph and it represents the actual manifestation of the very spirit of the artist. Because of this, no machine-made copy of an original work could ever acquire the same value as the original because it lacks the energy and the soul of the artist who created it.
Nidichi feels that even limited edition copies made by the original artist, especially lithographed prints, cannot convey the full spectrum of the artist's energy that is embodied in the original work. They sell for less because they contain less of all that which is the artist.
However, Nidichi is quick to explain that his limited edition sculptural pieces all start from scratch and require as much finishing as the original that inspired them. As such, no two are alike, varying slightly in shape, color of the fire-blue and stone base, or other nuances that only Nidichi recognizes.
Nidichi is a multi-medium sculptor
Unlike most sculptors who generally settle into one medium, Nidichi is a multi-medium sculptor who works in stone, wax, clay, wood and metal. Occasionally he will employ synthetic materials to complete a theme, but prefers the materials provided by Nature.
When asked why he sculpts in such a variety of materials he explains that different mediums provide him with different opportunities of expression. Stone and wood, for example, present him an opportunity to release the vision that he sees entrapped within the raw stone or wood. While wax and clay require that he form, fashion, and "create" the vision he sees or feels within himself.
He states that it is merely the expression and balance of the yin and yang - one being an additive process while the other is a reduction process. Both are creative forces in action and most of his work reflects both philosophies in each piece.
While Nidichi sculpts varied subjects, it is his modern renditions of presentation-grade Indian pipe tomahawks and his Indian rifles that have gained him serious recognition in Indian art circles. Each Nidichi sculpture is dedicated to one of the powers of the natural world, displaying subtle as well as obvious symbolism.
Look, but do touch.
Unlike most sculpture which implies "Look, but don't touch," Nidichi's work invites the observer to become more involved with it by being accessible. Nidichi claims that his work was intended to not only please the eye, but to please the sense of touch, too, thereby further intriguing the mind. Nidichi's Buffalo Lance Point even speaks to its observer, answering a tap upon it with a soft ringing tone that is so pleasing to the ear.
When one removes a Nidichi Pipe or Buffalo Lance Point from its stand and admires it closely, the observer begins to interact with the good energy Nidichi imparted into the piece during its creation. Some energy-sensitive people have even claimed to see visions when they handled the Nidichi pipe. Nidichi believes they are receiving the benefit of his special blessing of the object that he bestows upon it once he's completed it.
However, Nidichi is quick to explain that his limited edition sculptural pieces all start from scratch and require as much finishing as the original that inspired them. As such, no two are alike, varying slightly in shape, color of the fire-blue and stone base, or other nuances that only Nidichi recognizes.
Nidichi is a multi-medium sculptor
Unlike most sculptors who generally settle into one medium, Nidichi is a multi-medium sculptor who works in stone, wax, clay, wood and metal. Occasionally he will employ synthetic materials to complete a theme, but prefers the materials provided by Nature.
When asked why he sculpts in such a variety of materials he explains that different mediums provide him with different opportunities of expression. Stone and wood, for example, present him an opportunity to release the vision that he sees entrapped within the raw stone or wood. While wax and clay require that he form, fashion, and "create" the vision he sees or feels within himself.
He states that it is merely the expression and balance of the yin and yang - one being an additive process while the other is a reduction process. Both are creative forces in action and most of his work reflects both philosophies in each piece.
While Nidichi sculpts varied subjects, it is his modern renditions of presentation-grade Indian pipe tomahawks and his Indian rifles that have gained him serious recognition in Indian art circles. Each Nidichi sculpture is dedicated to one of the powers of the natural world, displaying subtle as well as obvious symbolism.
Look, but do touch.
Unlike most sculpture which implies "Look, but don't touch," Nidichi's work invites the observer to become more involved with it by being accessible. Nidichi claims that his work was intended to not only please the eye, but to please the sense of touch, too, thereby further intriguing the mind. Nidichi's Buffalo Lance Point even speaks to its observer, answering a tap upon it with a soft ringing tone that is so pleasing to the ear.
When one removes a Nidichi Pipe or Buffalo Lance Point from its stand and admires it closely, the observer begins to interact with the good energy Nidichi imparted into the piece during its creation. Some energy-sensitive people have even claimed to see visions when they handled the Nidichi pipe. Nidichi believes they are receiving the benefit of his special blessing of the object that he bestows upon it once he's completed it.
His art is not politically correct
Nidichi likes to re-present implements of the daily life of the ancestors that are generally overlooked by moderns and some would say that his presentation of tobacco-smoking pipe tomahawks and spear points may not be politically correct by some standards. But, Nidichi isn't concerned with political correctness. As a global World Citizen he professes an "apolitical" status and has, as he states, "little interest in the foolishness of men who can barely manage their own lives, yet they plot and scheme by political process and corruption of law to control the lives of the rest of humanity."
Nidichi doesn't impart value judgments of “good” or “bad” on anything in his life or anything that he portrays through his art. It is his feeling that his work is merely a representation of tools and nothing more and that it is the mind of the individual using the tool that determines its application and whether they will use it in aggression, anger, defense, for making meat, or in gratitude of Life. The tool is just an object having no conscious will of its own.
There are but a very few good photos available of Nidichi’s work as it was not his intention to pursue a career in art and as a result he never created a portfolio of his work. Nidichi claims that he did not choose art as a career, but rather that art chose him as a messenger.
His artistic expressions rarely make it into the public realm as few pieces are produced - usually custom-made commissions. Those pieces that do become available are quickly snatched up and coveted in private collections.
While Nidichi was adopted by Chief Thunderbird IV of the now disbanded Kaweah Indian Nation, he has no native Indian blood and here makes that declaration to any parties who may be interested in his work.
If you wish to commission a piece of Nidichi art, please contact us, the friends of Nidichi, at: Nidichi@RadicalConcepts.info
While Nidichi was adopted by Chief Thunderbird IV of the now disbanded Kaweah Indian Nation, he has no native Indian blood and here makes that declaration to any parties who may be interested in his work.
If you wish to commission a piece of Nidichi art, please contact us, the friends of Nidichi, at: Nidichi@RadicalConcepts.info
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We wish you the Great Spirit's blessing and leave you with a bit of Nidichi humor.
