RON CRUSAN

A nkisi nkondi is a potent spirit-invested power figure of the Kongo peoples, characterized by its accumulation of nails and other sharp objects, which are hammered in to the body of the sculpture in order to activate its powers. These figures serve as spiritual authorities, used by a nganga (spiritual specialist) to resolve disputes, confirm oaths and contracts, heal sickness, and punish wrongdoing or sorcery within a community. The term “nkisi” means “spirit” and "nkondi" means "hunter," signifying the figure's role in spiritually hunting down and punishing evildoers, while the nails themselves document and seal agreements.

Nkisi nkondi were made at least as early as the 15th century and are known to be actively used through the 19th century. I became aware of these powerful sculptures during my studies of world art and cultures, and how they closely reflect social interactions in the Kongo cultures.  Many of these powerful figures were preserved by visiting Europeans, but many more were destroyed as emblems of pagan religious ceremonies that countermanded the teachings of Christianity.   

Nkisi nkondi are extremely powerful and moving examples of how man made materials can influence the spiritual, societal and sculptural elements of the human experience.  I adapted the technique of hammering nails, sharp objects and other cast off industrial artifacts into my sculptural figures, along with common objects used in American culture, in order to question our dysfunctional Western society.  

My work looks at American culture, and how the societal norms are slowly eroding away.  Such things as lack of civility, diminishing intellectual curiosity, violence and the rise of intolerance are fueled by the glorification of celebrity in a society that values opinion as fact and lies equal truth.  Nails symbolize our agreement as American citizens to live in an ordered, civilized society; agreements that are being broken at increasingly alarming rates.   

“We must try, at all costs, to avoid the vacuum of insulated ease.” -Sidney Marsh Chase

I began the Loss of Language series in 2018, after the Parkland, Florida, school shootings. Columbine, Sandy Hook, Marjorie Stoneman Douglas.  Once again, I was appalled by our nation’s lack of action in response, and our society’s willingness to sacrifice our children for the sake of what, exactly? Usually not one to make political statements in my work, I felt compelled to respond through my art. I used children’s letter blocks to spell the name of every child killed in four different shootings; not as a form of protest, but to honor each child’s memory; a celebration of their young lives. The exploration of language, culture, memory and common childhood experiences continued into 2025 and the current body of work. 

The commonly held political and social ideas that define American culture and allow it to function efficiently have broken down. Such things as tradition, courtesy and the rule of law have seemingly become optional in public behavior. The rise of racism, intolerance and lack of civility are reflective of this evolution. We try to explain the evolving societal norms through language that is often inadequate. And because the actions are irrational or antithetical to an ordered society, we simply lose the proper words. We use words like hero, tragedy, thoughts and prayers to mask our inability to deal with the issues and events on a personal, social, or national level. 

Found objects are cultural signifiers of America's past and present cultures. Children's blocks symbolize the inadequacy of our common language to explain the barbarity that exists in American civilized society, while through memory, reflect our common childhood experiences. 

The alphabet, words and language and their uses are cultural constructions. Cultural perceptions are shaped by a common language, and through language, a common experience. However, if we remove or alter the language to satisfy personal or political agendas, are we not in danger of permanently altering our culture or losing our national identity? If we cease to use language to decry the horrors occurring daily in our country, then the acts become abstractions that no longer require a response. The horrors are so great, that we simply don’t have the words, so our responses are all emotion; no explanations, no rationale, no solutions. Just emotion. 

In a culture where there exists too much of everything, very little remains precious. 

PRIVILEGE is about American cultural stereotypes, particularly our perceptions of women and minorities since 1950, and my role as a “privileged white male”. While I wasn’t sure what that meant, or if I was one, I began some self-examination after the ME TOO movement came along. Am I privileged? Have I ever done anything that could be perceived as insulting or degrading to another person? I’m still not sure of anything, and I have not drawn any conclusions, but I continue to look at others through somewhat opened eyes.