it quickly became a defining turning point. Through the foundry, Todd got to col - laborate with other artists, further hon - ing his sculpting skills with each proj - ect. The foundry also brought another opportunity: it put Todd in the center of the rich cultural heritage of Ch’ini’li, a vibrant Navajo Nation community. “We lived there for eight years, and it was fascinating, because I gained friends and got to be around the culture enough to understand the language just enough to realize that I don’t understand.” The Native American culture and way of life captivated Todd. It held mys - tery and intrigue. They thought about things differently and presented an alternative way of looking at life. And to Todd, that sense of mystery offered an invitation to ask deeper questions, to explore and even to look internally–– something he believes artwork should also evoke. “In art, I think mystery is important,” he said. “To discover something. To ask, what is there? What am I not seeing? What does this mean? Those types of questions and that sense of mystery en - gage people, and the Native American theme inherently has that mystery in it to me.” J. Todd Paxton works on a clay sculpture.
T here’s an all-consuming energy that radiates from J. Todd Paxton’s artwork. Perhaps it's the sheer size or attention to detail of his sculptures, which often depict Native American warriors. Or, it may be his uncanny abil - ity to capture the soul through the eyes of his portraits. There’s a sense of mystery that draws you in to these stoic figures––that com - pels you to learn their story. And as you move in closer, the energy envelopes you and there’s almost a magnetic connection. Though it can be hard to make sense of this connection initially, especially when it’s an eight-and-a-half-foot-tall Crow warrior, for example, you realize that this sculpture embodies all of the emotions, hopes, fears, worries, dreams and desires that course through all of us. And it’s that moment of connection–– that realization of the shared human experience, seeing yourself in that warrior and feeling seen in some way, too––that Todd is after. For him, that connection starts with the story. “I like stories that are human,” he said. “Not of any one particular culture, but something that we all think about and that we can have a connection with. A lot of my pieces have to do with growth or the lessons that I learn––the feelings
of life.” Though much of his work is told through the rich stories embedded in the Native American culture, his own journey to becoming a professional artist has significantly influenced what emerges from his hands. A calling that wouldn't let go Todd was naturally drawn to art at an early age. In high school, he recalled taking every art elective so many times that his teacher started giving him free rein to create whatever he wanted––a gateway to his inventive spirit, perhaps. In college, he narrowed his artistic focus to graphic design and illustration. And though he went on to work in that industry and a few others for several years, art was always in the back - ground––occupying much of his spare time and most of his heart and mind. Todd continued painting and drawing, but had yet to venture into sculpting. It wasn’t until an artist friend introduced him to renowned sculptor Ken Payne, who took Todd under his wing, showed him the ropes, and, along the way, lit an inextinguishable spark. Eventually, that fortuitous introduc - tion led to another opportunity. In 2007, when Ken was ready to sell his foundry in Chinle, Ariz., Todd saw a pathway into sculpting. It was a leap of faith, but
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Issue 5 | Summer/Fall 2026
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