The sculpture is juxtaposed against charcoal drawings. The choice of charcoal is both a historical reference to early human art making (i.e. cave drawings) and also to the fossil fuels which currently push our world closer and closer to oblivion. The drawings focus primarily on a simplified representation of the ghosts of the millions of buffalo which were killed during the westward expansion of the United States and also coincide with the genocide of the artist’s Lakota ancestors. The imagery and text woven into the Bison ghost drawings are pulled from American Country Western music; much of which continues to be the anthem of the American west. The artist intentionally leaves his hand and finger prints in the drawings as a personal indictment.

Consumption Americana is a confluence of cultures. The artist exists as a contemporary Lakota man. His culture has evolved, like many others, in the great American melting pot. The artist examines the mixture of Lakota and Western influences that make up the fabric of his contemporary existence. The elements of Country Western music, for instance, are referential of the artist’s grandparents who were fans of the genre. In many ways, Country Western music has become a new traditional form of music in Lakota culture often played at funerals and weddings. The traditional geometric imagery is used to adorn modern vessels which purposefully push back against romantic representations of Lakota people that plague American pop culture.