Collection Guide
Collection Guide
Hear from artists, curators, and scholars about the rich histories of abstraction in art of the Indigenous Americas.
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AUDIO GUIDE TRANSCRIPT
The transcript for each audio track is available in expandable sections of individual object pages.

Pods, 2016
Nora Naranjo Morse, Kha'p'o Owingeh (Santa Clara Pueblo)
- Transcript
Speaker
Nora Naranjo Morse
Artist
New MexicoMy name is Nora Naranjo Morse. I’m a Kha’p’o Tewa Indian from New Mexico, and I made this piece entitled Pods.
In the dictionary, the definition of a pod is described as a seed vessel, a protective pouch.
In explaining why I created Pods in clay, let me give you some background.
I come from a Pueblo tribe in Northern New Mexico that has a long and rich history of working with clays gathered from the mountains and hillsides along the Río Grande.
Historically, Pueblo people made vessels for utilitarian and ceremonial purposes: vessels that Pueblo people cooked in, carried water in, and served food on. In the winter months, seeds were kept dry in hollow, coiled seed containers, which are referred to as seed balls.
I am a clay worker like my mother, her mother, and her mother. My work is influenced by Pueblo culture and the environment I was born into.
Each spring, wild garlic grows outside my studio. Wild garlic sometimes have elongated stems that gracefully curve and twist upward toward the sun, and at their tips are bulblike pods creating a perfect example of form and function in nature. Watching wild garlic grow feeds my creativity.
Pods, made in clay, was inspired by the environment I’ve lived in all my life—Pueblo culture that’s been passed down through generations and safely stored in my memory, ready to harvest on any given day.
- Gallery Text
Nora Naranjo Morse,
Kha’p’o Owingeh (Santa Clara Pueblo),
born 1953Pods, 2016
clays (micaceous and Santa Clara) and pigment (bisque stains)Organic forms repeat with subtle variations in size, proportion, and color. The bases resemble the beginnings of many hand-built ceramic vessels, such as the bowl and jar nearby. Yet Nora Naranjo Morse kept going, creating seemingly self-contained ceramic forms. She extended the sculptures with elegant, tapering necks and adorned them with jewel-toned rings.
In Pods, the artist responded to Pueblo aesthetic concepts that trace parallels between vessels, buildings, and the natural world. Seedpods and dwellings each “contain, nurture, and protect another entity,” in the artist’s words.
Helen Kornblum Fund for Contemporary Native Women Artists; and Gift of Mr. and Mrs. Adam Aronson, by exchange 255:2022.1-.3
Credits
Nora Naranjo Morse, Kha'p'o Owingeh (Santa Clara Pueblo), born 1953; Pods, 2016; clays (micaceous and Santa Clara) and pigment (bisque stains); left: 30 x 10 x 10 inches, center: 36 x 13 x 13 inches, right: 26 x 11 x 11 inches; Saint Louis Art Museum, Helen Kornblum Fund for Contemporary Native Women Artists; and Gift of Mr. and Mrs. Adam Aronson, by exchange 255:2022a-l; © Nora Naranjo Morse