Denver Sculpture and History: Edgar Heap of Birds

"At daybreak on November 29, 1864, Chivington deployed his column of seven hundred men and charged into Black Kettle's sleeping camp, which sheltered five hundred Indians. [...] Men, women, children, and even infants perished in the orgy of slaughter, their bodies then scalped and barbarously mutilated. At day's close, some two hundred Cheyenne corpses, about two-thirds women and children, littered the valley of Sand Creek" (Utley 92).

Most Coloradoans do not like to think of such events. After all, this is home to skiing, mountain biking, and the Denver Broncos. Nevertheless, the massacre at Sand Creek did happen. It is just as much a part of Colorado history as Denver itself. To deny its historical significance is to deny the existence of Colorado and all localities of this nation. The brilliant artwork of Edgar Heap of Birds, aptly titled the Wheel, stands proudly silent and keeps vigil in the heart of our city as a reminder. It is located as a public display outside Denver's art museum. It was funded by numerous associations, including the National Endowment for the Arts, and was completed in 2005. In its profundity, and free for all to see, the sculpture recalls a time of past events, yet its message summons forth the healing that can be found in the ritual of renewal.

The sculpture is constructed of ten, galvanized, steel forms, which are each covered with red, porcelain enamel. According to Edgar Heap of Birds, the use of red is symbolic of two things. In a recent interview, the artist states:

1) "I go back to the red skin thing when they sold Indian hides for bounty."

2) "In the Cheyenne tradition, red is blood, and blood is good. Red blood is fresh, living blood. So, the tribe really makes red things good things."

Hence, upon examining the artist's own perspective, the use of red serves a dual purpose. First, as a reminder of grievances of the past. Second, as a celebration of Cheyenne culture and tradition. Both ideas juxtaposed together offer the viewer remembrance and a deeper insight into the richness and the solidarity of the Cheyenne people.

The tree-shaped forms are arranged in a circular pattern, and, if measured, the sculpture is 50 feet in diameter. It is truly monolithic in scale. The arrangement is not only sizable but also serves a celestial function. The work is positioned in such a way that it is directly aligned with the summer solstice. It is during this time, the Cheyenne hold their earth renewal ceremony. Although, for the most part, the artist declined comment on what this is exactly, the ceremony does seem to speak of new beginnings. According to Edgar Heap of Birds, "It's about renewal. It's about the trees down by the water. The water trees are heavily saturated with water. So, it's all about renewal." (1)

Finally, it would be haphazard not to mention the words that are upon the sides of each tree-shaped form. Words like GOLD, WARS, STARVE, and SUFFER are boldly displayed. Historical events such as the Dawes Act of 1877 are mentioned. Of course, the massacre at Sand Creek is spoken of, as well. Each phrase, and every word, are still boldly imprinted on my mind. In all, as a person that has lived in Colorado all my life, this sculpture has affected me deeply. I have not forgotten. I know what happened, and it troubles me greatly to be reminded. Still, I am hopeful there is a future for both myself and the Cheyenne people. Coexisting as one, troubled nation, all look forward to the next solstice and a new beginning. (2)

Notes:
(1) "There are ten trees in my sculpture in Denver, and there's twelve trees in the earth renewal lodge. I took out two. I am sensitive about presenting a religious structure. I made it dysfunctional by taking two of the pieces out."
(2) All interview material conducted by John LeKay.

Works Cited
Utley, Robert M. The Indian Frontier (1846-1890). New Mexico: University of New Mexico Press, 2003.