Throughline, curated by Elise Boulanger (Studio Art & Design ’21), was an exhibition featuring works by her Fort Lewis College peers, presented alongside objects from the Center’s collections. As an interdisciplinary student and intern at the Center of Southwest Studies, Boulanger conceived the exhibition to celebrate the diverse voices of her peers and to foster meaningful connections between their personal narratives and the Center’s holdings.
The exhibition centered on the idea that objects are living carriers of stories—created by living beings, passed on through generations, and continuing to hold significance over time. Each object from the Center’s collections represented a voice that contributed to this ongoing narrative.
Students met regularly with Boulanger throughout the semester to explore the Center’s collections. They selected one or more objects with which they felt a personal connection, conducted research, and created original artworks inspired by these engagements. Through collaboration with the Center’s curatorial team, students traced the histories of the selected objects, including their origins, makers, meanings, and paths into the Fort Lewis College collections.
The creation of original artwork emerged from the emotional and intellectual connections students developed with these objects. Research using the Center’s database and other scholarly resources expanded their understanding of the broader cultural, historical, and artistic contexts. Virtual meetings also enabled students to engage with professionals across the country, including artist mentor Garrett Etsitty and museum preparator Jack Townes.
Artist mentors Tirzah Camacho (Laguna Pueblo) and Garrett Etsitty (Diné), both professional artists and Fort Lewis College alumni, joined the project to guide students in thoughtfully connecting the Center’s collections with their personal identities. Their participation was supported through the Preservation Series collaboration with Pendleton Woolen Mills. Camacho also led a collaborative painting project in March using found canvases, driftwood, and black-and-white paint.
Throughout the exhibition’s development, participants reflected on the value of art as a form of therapy and personal expression, particularly during the challenges of the COVID-19 pandemic. The project emphasized collaboration, cultural respect, and the importance of storytelling through artistic practice.
Boulanger reflected on the experience, stating:
“My peers were extraordinary in how they carved out time during the semester to create art and share their intimate narratives with the community. We spread an endless line of knowledge about who we are, why we are here, and how we will remain here. The connections we made were incredibly valuable, and some of us planned additional projects together. I am grateful to the Center’s team for giving us this opportunity.”
Additional reflections from participating students highlighted the exhibition’s impact:.
“I carefully chose collection objects to express and represent different aspects of my heritage. Within these pieces, I saw the story of my family and ancestors. I sought to explore the connections between those who came before me and those alive today. The Diné are a matriarchal society; we are the lifeblood of our cultural survival. In this piece, I showcased and honored the matriarchs of my family—my grandmother, my mother, and my sisters—and our connection to the past, present, and future.”
— Emily McWilliams
“When exploring the photography collections, I was most struck by the power historical photographs have to tell stories and provide important representation. Photographers like Eddie Ellison captured fleeting moments of light in otherwise changing landscapes, inspiring me to use bleach. Bleach is immediate and unforgiving on fabric, much like film when exposed to light. I wanted my work to acknowledge the power of representation in my chosen photograph, just as photography has the ability to preserve and honor the past.”
— AJ Lopez
“This project helped me immensely during the COVID-19 pandemic. It connected me with many new like-minded people, both in person and virtually. It was an incredible experience to explore the archives and conduct research while still maintaining my creative freedom. The collaborative project was one of the best things I could have done for my mental health. Getting to paint freely and build upon others’ ideas was amazing and marked my first collaborative experience since the pandemic began.”
— Danni Crombie
Video by Nathan Van Arsdale, Senior Videographer and Photographer for Ballantine Communications, Inc. This video was created with the generous support of Richard Ballantine.
Student Participants
Elise Boulanger, Studio Art (Osage); Danni Crombie, Studio Art (Gwich'in); Chloe' Umdenstock, Art Education (Cherokee); Laurel Grimes, Communication Design (Chikasha, Vietnamese, Cherokee, Irish); Destiny Morgan, Studio Art (Diné, Nahiłii); Qootsvenma Denipah-Cook, Biology (Ohkay Owingeh, Hopi, Diné); AJ Lopez, Anthropology + Native American Indigenous Studies; Shalee Rowley, Creative Writing; Cheyenne Williams, Journalism (Muscogee [Creek]); Hannah Jacks, Communication Design (Cherokee); Stella Atkinson - preferred name is Soggy John, Studio Art; Kobi Gyetvan, Studio Art + Marketing (Latinx); V. Barney, Communication Design + Sports Administration (Diné, Laguna Pueblo); Ben Rogers, Art Education; Maddie Sanders, Communication Design (Mvskoke & Mojave); Emily McWilliams, Biology + Anthropology (Diné); Emily's sister and grandmother also created pieces for the show - Claire McWilliams and Lillie Coleman.
Artist Mentors
Tirzah Camacho (Laguna Pueblo) and Garrett Etsitty (Diné)
Exhibition Sponsors
This exhibit was funded partly by a grant from the Ballantine Family Fund and Fort Lewis College's Mellon Foundation L.I.T. Grant, and through the Center's Preservation Series collaboration with Pendleton Woolen Mills.