New exhibit at Rogers

David Bunn Martine breathes life into his paintings by drawing on a special kind of inspiration—the spirit running through the history and narrative of Native Americans.

So it should come as no surprise, then, that his latest exhibit at the Rogers Memorial Library is a product of just that, colored by an emphasis on Mr. Martine’s heritage as a member of the Shinnecock Indian Nation.

The Shinnecock artist has based his life’s work around an unflagging fascination with Native American history books, oral histories from relatives and decades of research that has filled his bookshelf at home.

The collection of 20 paintings, featured throughout September on the lower level of the library, were completed by Mr. Martine between 2005 and 2007. The series of scenes of Shinnecock life spans centuries, both before and after colonial settlers arrived in the region.

Some of Mr. Martine’s paintings will remain in the stairwell of the library between the first floor and the lower level for an extended period after the close of the exhibit, according to an e-mail from library director Liz Burns, because they offer “intimate glimpses” into the lives of the Shinnecocks.

All those attending the Shinnecock Indian Nation’s annual powwow this weekend will be viewing an example of Mr. Martine’s work, as he was one of several tribal members who helped paint the main stage years ago.

The characters in the paintings are all based on Mr. Martine’s own interpretations of historical documents and accounts. Bright colors show off Mr. Martine’s favorite artistic techniques—strong contrast between light and dark, and a style Mr. Martine has dubbed an “in your face kind of realism.”

The paintings portray scenes of Native Americans engaged in various activities at different locations. In one scene, a figure is in front of a traditional Native American home, also known as wigwam, or wickiup—a dome shaped dwelling made from thatched sea grass and covered with bark. Another painting portrays a whaling scene of Shinnecocks at sea in a canoe fashioned from a tree.

The differences between some of the scenes are subtle, but rooted in historical significance, Mr. Martine noted. Close examination reveals differences between the pieces that mark the time period. For example, a 17th century painting of a Shinnecock shows him adorned in European-traded goods of metals and cloth. A similar scene in another painting shows a member of the tribe wearing jewelry made of wampum, marking the 16th century before colonial settlement, Mr. Martine noted. “It’s more elaborate than people think,” he said.

Mr. Martine’s art is in part educational, he said, but it is also intended to make viewers feel good.

“I try to educate people through my image so that they won’t have stereotypes most people have of Native Americans that they usually get from movies and TV,” Mr. Martine said.

An accomplished artist for the past three decades, Mr. Martine is also the curator of the Shinnecock Nation Cultural Center and Museum, where he has two of his own exhibits on display. The museum is marking its 10th year in operation this year.

Mr. Martine derives many of his influences in his artwork from his childhood growing up with his grandmother, Alice Osceola Bunn Martinez, on the Shinnecock Reservation. Mr. Martine regularly listened to oral histories she shared and he sometimes taped them. “She had a long memory,” Mr. Martine said.

He was also around many books at home, which lent to his passion for history. He said he was drawn to realism in his paintings based on his fondness for National Geographic. “I grew up with a lot of history in the house,” he said.

John Strong, a Long Island University professor emeritus, commissioned Mr. Martine to illustrate several books about Native Americans.

“I’ve worked with him for years, and he has an interest in really recapturing the historic parts of the Shinnecock narrative,” Mr. Strong said.

For more information about Mr. Martine’s work, visit his website at davidmartine.com.