Atlas Dearborn
They/Them
McKinleyville, CA, US
Atlas Dearborn (they/them/theirs) is a queer, trans, and disabled artist practicing in the Northern region of Humboldt County. They explore aspects of the trans experience, identity, and personhood as well as the process of making and its reflection.
“From early on in my transition to now, my identity has been in fluctuation, responding to the experiences I have and the environments I am in. My identity responds in multitudes to the world. These multitudes are reflected in my patination work. It is the nature of metal to change in response to its environment. The only way to stop metal from tarnishing is to cut it out from the rest of the world, to preserve it in its entirety. Yet this counters the true nature of metal, which is to respond to the world. And in turn, my identity responds to the world and I find my place within it.”
How does your creative practice reflect your experience of living and making as a BIPOC and/or 2SLGBTQIA+ maker?
“My creative practice begins with making, and through making I find meaning. This reflects my experience as a trans non-binary and queer artist because my identity is always in flux. I think I am as happy as I have ever been, but I know that as days, months, years pass that I will become even more happier with how my identity evolves. But I never know what my identity becomes without reflection. It is those late night moments and deep conversations with friends about who I am that allows me to recognize and internalize who I am becoming. I believe that you cannot make without reflection, and cannot reflect without something new being created. Its a cyclical relationship that manifests itself in all aspects of who I am, from my art to my identity."
"24056129173", Copper, assorted verdigris patination, 1.375" x 1.375, 2024What techniques, stories, or materials have been passed down to you, and how are you reimagining them in the present?
“I never knew my grandmother growing up. I heard stories and have been informed that I resemble so many qualities of her. One of the things that I inherited and keep lovingly is the collection of brooches that my grandmother wore every day. From silly Christmas cat pins to simple bling, practically any brooch you can think of, I have. When I began my patination project, in which I tested and documented 270 patinas on 1 x 1 inch copper squares, all I knew was that I wanted to create some form of jewelry summarizing the main patinas I fell in love with. But I didn't know what I wanted to create. What I had to consider was the inverse relationship between patina and worn jewelry. I wanted to create something that could be worn every day, but a ring or necklace that is frequently worn wears away the patina. But I didn't want to create a display-only jewelry piece. Through conversation with other artists, and reflection, I realized that brooches were the answer and looked to my grandmother's collection for an understanding. I learned of the conversations her brooches created and wanted to do the same with mine: conversation of patina, how patinas reflect identity, and my grandmother.”
How does your work honor those who came before you while forging new pathways for the future?
“My work honors those who don't have all the answers. If you speak to me at the later stages of an artwork, I will probably tell you all these philosophical meanings behind every cut and every soldered join. But if you speak to me when I am just beginning? I have no clue why I do what I do. I believe that this stage of not knowing is an inherent, and unspoken, stage of coming out and finding yourself. Early on in my transition and coming out, I was expected to have a definitive answer about who I am. But I was 14, I was young, and I knew nothing. Time heals all wounds and answers all questions, and it takes time to figure out who you are, especially as a trans person. There's a journey to it, and I believe that my work honors this journey, not only through the act of making but the reflection and answers that are discovered. I am still in my journey which I hope will never end. I look forward to learning of the journeys of others by those that came before and everyone who comes after.”
"195197231244", Copper, assorted temper patination, 1.375" x 1.375", 2024Anything else you would like to share about this work? This can be an important part of the process, sourcing materials, research, etc.
“The three brooches pictured hold more meaning than what meets the eye. These brooches came about after 3 months of intensive research as a part of an independent study in a selected jewelry practice, which for me meant patination. I spent these 3 months developing a hypothesis and conducted 270 experiments on three categories of patination: verdigris, temper, and immersion. A lot of the patinas I created came from online research, random Ganoskin blog posts, historical accounts, and the book "Patina: 300+ Coloration Effects for Jewelers & Metalsmiths" by Matthew Runfola. My experiments synthesized all this information to create a display of 270 individual patinas, 3 brooches named after the experiments used to create them, and a spreadsheet documenting every step along the way. It is a project that has become a source of even more inspiration for future work, and I hope to write about my experiences in patination so that others can learn and do themselves.”
"195197231244", Copper, assorted temper patination, 1.375" x 1.375", 2024
Photographs Courtesy of the Artist