“Ledger art is about documenting and recording Indigenous peoples' way of life and personal experiences here in North America. That's what I enjoy about this medium; it reveals moments in time and is reminiscent of painted war robes and lodges of ancient times. My father, Terrance Guardipee Last Gun, is a ledger artist and was amongst the artists who helped revive this art form. I grew up seeing his work, and I am still much inspired by his use of our Piikani (Blackfeet) narratives, historical warrior figures, animals, and geometric symbols. My father also gave me some of my first ledger paper and various other people since then. I let the ledger paper sit with me for some years before I finally started working with it—really, it was the pandemic that sort of forced me into this new artistic venture. I applied the visual vocabulary that I've been working with and built over the years to this old yet unique way of visually communicating.

This new body of work is about Piikani cosmic narratives and the field of astronomy. One of my most recent projects included creating work for an article about translating physics into the Blackfoot language, which this body of work draws from. This work also explores optical illusion and color interaction. These various layers to my work depart and add something new to ledger art history. The titles also give the viewer insight into some of the ideologies behind the work.

Throughout ledger history, you see accounts and a record of early times up to today. You see ceremonies, warriors, war deeds, US military encounters and intrusion, the introduction of wagons, umbrellas, and automobiles. My work is abstract and layered in meaning with the same sense of timeless symbology that I feel is restoring a sense of balance or perhaps reconfiguration for a new narrative.

I hope my exhibition work as a whole radiates the same positive energy I feel and see when viewing this work in person. The Sun, Moon, and Morning Star are important figures in Piikani/Blackfoot Confederacy culture and history and have continually inspired my work. I think a lot about our relationship with them and the rest of the cosmos as human beings on Earth. I hope the viewer leaves with a sense of awareness of contemporary Piikani art and a glimpse into what the continuation of ledger art looks like today.” Terran Last Gun

Deborah Sipple, Albuquerque Magazine #1
Deborah Sipple, Albuquerque Magazine #2, 2021
Deborah Sipple, Every Color of My Being, 2021
Deborah Sipple, Red Genie, 2021
Deborah Sipple, Vanity Fair, 2020
Deborah Sipple, Fingerprint of Joy
Deborah Sipple, Fire and Water - A Love Story, 2018
Deborah Sipple, Golden Glow, 2016
Deborah Sipple, New Mexico Magazine #1, 2021
Deborah Sipple, New Mexico Magazine #2
Deborah Sipple, Outside Magazine #1, 2021
Deborah Sipple, Outside Magazine #2, 2021
Deborah Sipple, Pieces of the Universe, 2019
Deborah Sipple, Red Trinity, 2016
Deborah Sipple, The Fire Within, 2021
Deborah Sipple, Yellow in a Sea of Green, 2016
Terran Last Gun, Activate the Ancient, 2021
Terran Last Gun, Bringer of Light, 2021
Terran Last Gun, Landscape No. 6, 2019
Terran Last Gun, Surrounded by Medicine, 2021
Terran Last Gun, Energy From Above, 2021
Terran Last Gun, Four Beings Converge, 2021
Terran Last Gun, Never Went Away, 2021
Terran Last Gun, Observing the Earth Beings
Terran Last Gun, Somewhere Unknown
Terran Last Gun, The Land Awaits Our Return, 2021
Terran Last Gun, The Return is Near, 2021
Terran Last Gun, There Are No Boundaries, 2021
Terran Last Gun, Trails to the Nearest Star, 2021
Terran Last Gun, Watchful Protectors, 2021
Terran Last Gun, Wandering Inner Orbits, 2021
Terran Last Gun, Uncontainable Ancient Energy, 2021
Terran Last Gun, Untitled 005, 2019
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