First American Art Magazine No. 22, Spring 2019 - Page 60

PROFILE above Reuniting Bonds, 2018, low-fired clay, kiln smudged, 20 × 15 in. opposite Restricted Emergence, 2017, hand-dug, shell-tempered, Red River clay, pit-fired, 12 × 24 in., private collection. CKE: I feel the need to create a [customary] Caddo piece—we talked about the importance of that—so that I can get those works in front of archae- ologists, museums, galleries, and in festivals. I put all my heart into it. Once I’ve done that, it is important [for it] to evolve into something—into new ways to get across ideas. More statement pieces to start thinking about something specific 58 | WWW.FIRSTAMERICANARTMAGAZINE.COM that’s going on in the news or events, or archaeologically. For example, the garfish. There’s a lot of talk about water. Water is life. I was thinking, What is alive in the water? For us as a tribe, we would have seen a gar, so I was kind of focused on that for a while. Then, contributing to the story of our people, I made Reuniting Bonds, where it has the chains that bring us all back together. I’m trying to make