Art Interview with

Jeremy Dennis

Fine art photographer and Founder of Ma’s House & BIPOC Art Studio, Inc.

You are a contemporary fine art photographer as well as lead artist and founder of Ma’s House on the Shinnecock Indian Reservation in Southampton, New York; how did your journey as an artist, and the idea for Ma’s House, begin?
My journey as an artist began with a deep connection to my Shinnecock identity and the landscapes I grew up around. As a child, I was always curious about the stories and culture of my people, and that curiosity naturally evolved into a desire to create and document through photography. Ma’s House was born out of a need I saw within my community for a space where BIPOC artists could gather, create, and be supported. It felt important to provide a dedicated environment where Indigenous and marginalized voices could share their stories in an empowering and meaningful way.

Before starting Ma's House, I was residency-hopping myself as an artist. Not having an artist studio and artists my age to engage with, residencies offered resources and space for this type of support. When the pandemic happened in 2020, my upcoming residencies were all canceled along with many other opportunities. My family and I came together and decided that during the period of social distance, we could attempt to renovate our old family home that was on the brink of collapse. We started with a GoFundMe and to our surprise, raised enough to renovate the house to a habitable state. Because of that generosity, we decided to create a communal art space.

We also focus on BIPOC artists and healing in our work because, at the same time as the pandemic, our nation witnessed the rise of Black Lives Matter and witnessed police brutality toward people of color. Despite being a modest space on a small tribal territory, we wanted to contribute toward social justice by creating space for BIPOC artists to create artwork that might be social justice-oriented or simply rest after the experience of the pandemic.

Your work is both visually beautiful and very powerful. What themes do you like to explore, and what power do you hope your work, and the topics explored, brings to everyone who sees it?
I explore themes of Indigenous identity, belonging, land, and the ongoing impact of colonization. My work often addresses issues of reconciliation and invisibility, bringing a contemporary lens to traditional stories and struggles. I hope that when people engage with my work, they feel a connection to the resilience and strength of Indigenous peoples. I want my work to challenge viewers to reflect on histories they may not know and to provoke conversations around land rights, sovereignty, and the future of Indigenous cultures.

How do you plan out your exhibitions, workshops, and events at Ma’s House, and how do you both get other artists involved and attract visitors to the space?
Planning exhibitions and workshops at Ma’s House involves a lot of collaboration. I work closely with the artists to ensure they have the freedom to express their vision while also aligning with the mission of Ma’s House to uplift BIPOC voices. We invite artists from across the country to participate, often through residencies or curated shows. As for attracting visitors, we rely heavily on word-of-mouth, social media, and partnerships with local organizations. I think the space speaks for itself—once people experience an event or exhibit, they tend to come back and bring others with them.

In another interview you did, you mentioned the concept of “tokenism” with Indigenous art. What other dedicated spaces do you think show Indigenous art well, and what could more mainstream spaces do to better, and more authentically, incorporate more Indigenous art?
Tokenism is an ongoing issue, where Indigenous art is sometimes included in a performative way without real understanding or respect for its context. There are spaces like the IAIA Museum of Contemporary Native Arts in Santa Fe and the work of The Forge Project and Gochman Collection that do an excellent job of showcasing Indigenous art authentically. Mainstream spaces need to do more than just feature Indigenous art during heritage months; they need to build long-term relationships with Indigenous artists, provide resources, and understand the importance of the stories being told. It’s about genuine representation, not just inclusion for the sake of diversity. As an Indigenous artist, there have been so many instances of being invited last minute when all the decisions have been made toward the end of an exhibit or art project, and I feel I am invited as a token to make the project more diverse or inclusive.

Art and political activism often go hand-in-hand, as powerful, striking visuals can bring awareness of often-ignored, or lesser-known, issues to a larger audience. Do you create art, and show artists, with this in mind, and, if so, what is your ultimate goal in doing so? And do you work with artists from other Indigenous tribes, or with politicians, to shed more light on the issues and themes you portray in your art?
Absolutely. My work is inherently political because it reflects the ongoing struggle for Indigenous rights and visibility. By showcasing Indigenous perspectives, I hope to inspire dialogue and action around issues like land back movements, environmental justice, and the preservation of culture. I regularly work with artists from other Indigenous tribes, and while I’m not directly involved in politics, I believe that the art we create is its own form of activism. I’m open to collaborating with politicians if it means bringing these critical issues to the forefront in meaningful ways.

You have shown your work in a fantastic array of solo and group exhibitions, and have held notable residencies; what have been some of the most significant for you? What would a dream exhibition be for you?
Each exhibition and residency has been significant in different ways, but some highlights include my time at the Vermont Studio Center, Yaddo, and the Andy Warhol Visual Arts residency program in Montauk. These spaces provided the creative freedom and resources to explore my practice more deeply. A dream exhibition for me would be something that combines large-scale immersive installations with interactive elements that allow viewers to not just see the work, but feel connected to the stories and landscapes. I’d love to take On This Site to a larger platform, like a major museum, and expand it to include Indigenous perspectives from across the country. That particular project largely exists as a free-to-access website and digital map, but I have thought many times about how to turn the project into something similar to Pokémon Go, with ambitions of turning the map into an installation.

Do you collect art yourself, and if so, who are your favorite artists to collect? Who would be a dream artist of yours to collect?
I do collect art, especially pieces from Indigenous and BIPOC artists. I believe in supporting artists whose work speaks to the issues I care about. 

Some of my favorite artists to collect are people I’ve had the chance to collaborate with, Daesha Devón Harris, Marisa de la Peña, Sueey Gutierrez, among others. A dream artist to collect would be someone like Cannupa Hanska Luger—his work around Indigenous futurism is expansive and refreshing.

What have been some of your favorite collaborations and exhibitions at Ma’s House? What do you have coming up that you are especially excited about?
One of my favorite collaborations at Ma’s House was the Shinnecock Speaks exhibit, which brought together voices from my community to share our perspectives through art. Coming up, I’m excited about the United Under Wampum Native Hip Hop Showcase, where we’re hosting Indigenous rappers and musicians at Ma’s House. It’s going to be a powerful night of storytelling and performance featuring Diogañhdih (Haudenosaunee-Akwesasne Mohawk Nation), King Charles FNYK (Shinnecock, Blackfoot, Powerton, Cherokee Nations), and Gianni VV (Shinnecock Indian Nation).

What is your vision for Ma’s House? How can more people help support the space and the artists who exhibit there?
My vision for Ma’s House is to continue growing as a space where BIPOC artists feel supported and celebrated, both locally and nationally. I want it to be a place where artists can push boundaries, share their stories, and connect with new audiences. It has been exciting to meet so many different BIPOC artists who have communities around the country who also want to create spaces similar to Ma's House. I don't want Ma's House to be one of a kind, I want it to be part of a large network of similar support systems and spaces.

People can support us by attending events, sharing our programming, and donating to help us provide resources for artists. Every bit of support helps ensure that we can continue to offer residencies, exhibitions, and community programs that amplify underrepresented voices. We often have non-Native neighbors asking if they are allowed to participate in our programs, and I always remind them the programs are for everyone!

www.jeremynative.com

@JeremyNative

https://www.mashouse.studio