Western art carries such a deep legacy that breaking into the scene can feel daunting. Now my work will be shown alongside artists I’ve looked up to for years. That still hasn’t fully sunk in.
The Far West Show, created by Mark Maggiori and Petecia Le Fawnhawk, feels like a new spark in western art— that’s igniting a powerful fire. It’s pushing me to evolve as a painter.
I’ve been making western-focused art for about four years now. I chose the American West as my subject for a few reasons. First, heritage: my grandfather’s pride in his Chippewa ancestry always inspired me. My grandmother’s side also has deep roots in 1800s Santa Fe. Second, historical interest: I’ve always been fascinated by the era. And third—connection. I can't fully explain it, but I’ve always felt a natural pull toward creating western art.
To me, the West is one of the richest subjects an artist could explore. The expansion westward across Indigenous lands was a brief but explosive moment in history—only about 80 years of rapid, intense change. Within that short period, you find the full spectrum and extremes of the human experience: romance, tragedy, violence, solitude, and resilience. It's a well of emotion and complexity—perfect fuel for artistic expression.
This show features both world-renowned artists and upcoming ones like myself. Being part of it was a major goal and I submitted my portfolio, though I didn’t expect it to happen anytime soon. I hadn’t received any notifications or emails, so it wasn’t even on my radar. One morning, I opened Instagram and saw that The Far West Show had posted the artist lineup. It looked like a festival poster—like something you’d see for Stagecoach or Coachella. Thirty-seven incredible artists. I liked the post and closed the app, not thinking anything of it.
About 20 minutes later, I reopened the app and saw the same post still at the top of my feed. This time, I scanned the names—and there it was: Julian Centofante. Mind Blown.
To someone outside the western art world—or unfamiliar with figures like Mark Maggiori—my excitement might seem over the top. But for perspective, this felt like being a street guitarist that is suddenly opening for Eric Clapton.
Now that I was an a part of the Far West Show, What do I paint? Two pieces, to present what my painting practice is about.
For the first, I decided to produce the largest and most ambitious piece yet from my Cast in Bronze, Drawn with Mud series. This body of work contrasts bronze sculpture with Native iconography—transforming three-dimensional forms into two-dimensional renderings, and merging Indigenous with European art traditions. The patina not only symbolizes the passage of time, but also serves as a protective layer, preserving the legacy of the figures it depicts. This particular piece depicts a buffalo hunt, inspired by the sculptures of the great C.M. Russell.
The second piece will be smaller, but I want it to carry the same thematic weight. To show the range of my practice, I drew inspiration from the masters—Rembrandt and Caravaggio—and painted a portrait of the great Comanche chief, Iron Jacket. Since no photographs of him exist (he died in 1858), I had to rely on creativity and historical interpretation. Iron Jacket was said to have worn the armor of a Spanish conquistador—making him a perfect real-life counterpart to the themes in my bronze series. While my work contrasts metallurgy with Native imagery, Iron Jacket himself embodied that fusion, donning European armor as a Native warrior.
Both of my new paintings will be on view at The Far West Show in Austin, Texas, on September 12th at Preacher Gallery. I’m incredibly honored to be part of something that feels like a real shift in the Western art world—a movement that’s not just preserving tradition but evolving it.
Huge thanks to Mark Maggiori, Petecia Le Fawnhawk, and the entire Far West team.
- Julian Centofante