Creator Spotlight: Steven Saffold

In his own words:

My name is Steven Saffold and I am a member of the Coastal Band of the Chumash Nation from Santa Barbara, California. My ancestors came from the village of Shalawa in Montecito, a suburb of Santa Barbara. I am a flintknapper and traditional skills practitioner.

California steatite and clam beads along with Franciscan chert drills used for making them. Photo courtesy of the artist.

How do your background and experiences influence your art?

I grew up fishing, camping, and shooting wood bows. My dad (a bowmaker since the mid 1990’s) would bring me to the local archery rendezvous events. At these meets, I was first introduced to flintknapping and saw amazing displays of knives, blades, and projectile points. Another inspiration of mine is the amazing tools, art, and jewelry made by my ancestors. I’ve always loved seeing natural elements from Mother Earth come together to make useful tools our ancestors relied on.

Can you describe your creative process from concept to completion? 

I usually have a finished project in mind when I start on it. No matter what I’m making, I make sure I start it in a good way because when it comes to flintknapping, bead making, or any other kind of traditional art, there is always a chance for failure. Once my momentum gets going, it’s hard to stop. Whenever I’m chipping away at a blade or shaping a bead, I’m also thinking about how my ancestors did it for thousands of years and how it continues today. 

Novaculite Hardin style projectile point. Photo courtesy of the artist.

How do you balance ancestral practices with contemporary and personal expression?

My ancestors had specific roles in their communities and would utilize their expertise in using materials they acquired locally and through trade. Whether it was flintknapping, basketry, stone carving, or bead making, materials were limited to local access and trade. I have used some of the same techniques, tools, and materials as my ancestors. I am also able to access materials from all over the world to make a wide variety of projectile points, blades, and knives. When it comes to jewelry and knife making, I will make the traditional styles but then try out contemporary designs to satisfy a diverse market. My ancestors relied on their trade and manufacturing skills, and I feel that I share that commonality with them.

What do you value most about what you do? Why?

 I take pride in the work I do, because it’s taken years of practice and trial and error to get to where I’m happy with what I make. Mostly, I feel like I’m helping contribute to continuing traditions that have been lost. I’ve also taught the art of flintknapping to other California native artists to the point where they’re teaching and continuing the tradition as well. These are the things that make me feel fulfilled in my art. 

Red abalone hook pendant. Photo courtesy of the artist.

How does your art serve to resist erasure or reclaim your Chumash identity? 

Though centuries of erasure negatively impacted Chumash cultural practices, I, and many other traditional skills practitioners, work hard to keep our culture alive and thriving. Through continuing the traditions of flintknapping, making beads, and carving stone, and teaching others these traditions, I have been able to play a part in passing along Chumash cultural practices to the next generation. 

I have also been working in cultural fire, which is our traditional way of tending to the land, and the only proper way to deal with wildfire prevention. 

Preserving and continuing to embrace the Chumash culture is a responsibility I do not take lightly. In doing so, I honor not only those who came before me, but those who will carry on those traditions going forward.

Grey banded obsidian blade. Photo courtesy of the artist.