Bio

Demeti Broxton is a mixed media artist of Louisiana Creole and Filipino heritage who was born and raised in Oakland, CA. His textile sculptures reflect his connection to the sacred art of the Yoruba people of Nigeria, the beading traditions of the New Orleans Mardi Gras Indians, and his love of hip hop and graffiti. Broxton holds a BFA with an emphasis in oil painting from UC Berkeley (2002) and an MA in Museum Studies from San Francisco State University (2010). His work has been exhibited internationally and most recently at SFMOMA Artists Gallery (2019), UNTITLED Art Fair (2020 & 2021), and Kala Art Institute (2021). His work is held in several private collections and the permanent collection of the Monterey Art Museum. He is represented by Patricia Sweetow Gallery in San Francisco, CA. 

Artist Statement

My textile sculptures reflect my connection to the sacred art of the Yoruba people of Nigeria, the beading traditions of the New Orleans Mardi Gras Indians, and my love of hip hop and graffiti. My work is an ongoing investigation of cultural continuities from Africa to America and I am particularly interested in how these ancient cultural forms find their way into mainstream culture. Thus, elements of Nigerian royal regalia, sports equipment with significant ties to African American history, Southern voodoo/hoodoo traditions, and quotes from hip-hop artists are seamlessly blended with beaded patchwork employing techniques used by New Orleans Mardi Gras Indians.

In both the Yoruba and New Orleans tradition, men are the creators of beaded regalia; however, this is not the case in mainstream American culture where beading and weaving techniques are often seen as women’s work. My mash up of bead weaving, which often quotes hyper-masculine phrases from hip-hop songs, creates an intentional tension and contrast between delicate and powerful, beautiful and dark, masculine and feminine. The use of cowrie shells adds an additional layer of complexity to the underlying ideas in my work. Cowrie shell sculptures in the Yoruba tradition are called Ilé Ori or House of the Head Shrines. Ilé Ori are shrines to a person’s spiritual essence; protected by a shield of cowrie shells. During the height of the Transatlantic Slave Trade, human beings were purchased with cowrie shells brought by Portuguese slave ships. In some cases, owning an Ilé Ori could protect a wealthy Yoruba person from being sold into slavery. This juxtaposition of beauty, pain, power, and influence can be seen throughout my work; as the shells represent the violence and wealth of the slave trading economy – a heritage that continues in sports and hip-hop lyrics.

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