The Roots of Holbrook

In Holbrook, Arizona, the landscape carries the weight of Diné history. Jared Yazzie grew up within the Ashiihi clan, where the visual language of the Navajo people was not something studied in books, but something lived. He watched how patterns moved through textiles and how stories were etched into the surface of pottery. These early observations formed a foundation of visual storytelling that would eventually move from the traditional crafts of his elders into the realm of modern graphic design.

His path was not shaped by formal classrooms. Instead, he learned through the tactile process of experimentation. He taught himself the mechanics of screen printing and the precision of graphic design, finding a way to translate ancestral knowledge into a contemporary language. This self-taught approach allowed him to develop a style defined by heavy geometric shapes and a specific use of color that speaks to the spirit of his culture without relying on old tropes.

The Language of OXDX

In 2009, Yazzie moved his work from the dorm rooms of the University of Arizona to a storefront in Tempe. He founded OXDX Clothing to act as a medium for Diné perspectives, turning complex cultural narratives into something that could be worn. His work often addresses the friction between tradition and the modern world, using clothing to spark conversations about identity and the way history is remembered or forgotten.

The imagery he creates often carries a heavy, layered meaning:

• The use of the respirator mask as a symbol for street art and the need to breathe through social poison.
• The integration of his grandmother’s specific design patterns into modern silhouettes.
• Graphic depictions of American Indian struggles and the honoring of figures like the Navajo Code Talkers.
• The tension between traditional headbands and the rebellious energy of urban street art.

Recognition and Presence

The work has moved beyond the local scene, finding its way into spaces like the Smithsonian National Museum of the American Indian. His designs have been featured in the Peabody Essex Museum, the Philbrook Art Museum, and the Portland Art Museum. These exhibitions place his graphic style alongside significant pieces of Indigenous history, proving that the medium of a T-shirt or a printed graphic can hold as much weight as traditional fine art. His presence in publications like The Wall Street Journal and High Snobiety reflects a broader shift in how Indigenous design is viewed on a global scale.

Today, he continues to work from his space in Arizona. He remains focused on the idea that regaining lost traditions is a task for the current generation. By blending the grit of street art with the precision of Navajo cosmology, he maintains a practice that is as much about social presence as it is about visual design.