A descendant of master silversmiths, weavers and artists, Kee Yazzie gained inspiration from them, but traveled an interesting path to his present renown as a jeweler. Kee’s own father was a silversmith, but Kee never received any formal instruction from his dad, maybe just some jewelry artist genes. He considers 1995, when he had finally acquired his own jewelry-making tools, to be the true launch of himself as an artist.
Kee studied linguistics at Brigham Young University, and is fluent in Thai and Laotian. Artists he read about and knew, such as James Little, Norbert Peshlakai, Gibson Nez, and Ray Scott, in particular, helped and guided him. However, he has developed his own style and techniques.
His resulting style is one of wonderful surface images created through complex overlay, cutouts, stamping, and appliqué. Sometimes Kee even puts designs on the back of his work. Inspired by the rock art walls that Kee Yazzie saw east of Keams Canyon when he was younger, he began to depict these petroglyph images on his jewelry – something that distinguishes his pieces from that of other American Indian jewelers. The resulting jewelry is quite unique and very beautiful. He works in silver, gold and sometimes incorporates fine natural turquoise stones.
He is especially intrigued by the geometry of Navajo rug designs, and graphic linear patterns. His applique work in gold on silver is highly collected.
Kee is now recognized as one of the most accomplished overlay craftsmen, sometimes incorporating one hundred symbols within a bracelet. Each intricately hand-cut piece becomes part of a seemingly never-ending mural in silver.
