Hollis Chitto (Mississippi Choctaw/Isleta Pueblo/Laguna Pueblo) has been beading since he was 10 years old. His humble nature always credits his parents, both of whom are artists who have taught him “how to see the world.” As a master of symmetry and color, Chitto’s work has transformed from more predominately flat women’s bags adorned with bold florals, to his more recent Mississippi Choctaw bandolier bags, which provide a larger canvas for Chitto’s creativity and skills.
As a researcher, Chitto explains that though they’re rare to find in historical collections, the Choctaw bandolier bags came from the rich history of the Five Civilized Tribes (Cherokee, Chickasaw, Choctaw, Creek and Seminole) in the mid-19th century. These communities had direct access to the finest trade items and were brilliant in sharing ideas. In fact, during this era, a lot of the shapes (beadwork and applique) were created and can be seen across these communities in the southern region. Through this inspiration, the Mississippi Choctaw style became bold, with white ribbon work, or beadwork, usually over a dark blue or red wool to create graphic impact.
Chitto explains that Mississippi Choctaw don’t have a lot of beadwork on their clothing, but more so on accessories. Clothing and accessories rely heavily on red wool with applique, embellished with beadwork designs. Beadwork can be found on accessories like the bandolier bags, netted collars, medallions, the beaded pins on women’s shoulders that hang down their backs and the gorgeous combs on top of their heads.
His 2024 Heard Indian Fair and Market Best of Show winner, Napakanli Um Okla Imma (Flowers for My Family), is a pristine example of the convergence of the historical pasts he respects, while simultaneously bringing his “work forward—because we adapt.” Napakanli Um Okla Imma was a way for Chitto to “bring flowers to [his] family.” He explains, “They’re already gone, but I’ve learned their techniques.” Along the thick strap, the white “saw tooth style” beadwork edges various aspects; this stitch is done with two beads at a time, catching every other bead to create the “saw tooth” shape. Another critical Choctaw beadwork design on the strap are the bold beaded stickballs that are done with white beads atop dark blue wool.
Chitto doesn’t talk about himself without talking about his grandmother, Bernice Chitto, who undoubtedly would have been a SWAIA legacy artist in her own right. Carrying her legacy, he explains, “the coolest thing about being a Native artist is we get to use our family and tribal designs, but we’re also us. These things have shaped us. And it’s important enough to me that I’m still doing it, and I hope I never stop because I love it so much. It’s not the easiest [art form], certainly not the quickest, and you have to really love it. That’s how you tell beadwork is good because you can tell they really love doing it.”