Artist Statement
by Tyrese Bright Flower Gould Jacinto
As an artist of the Nanticoke Lenape Tribal Nation, my work is a living expression of our culture, a testament to the many years of wisdom and skills passed down through generations. My art is not just a craft but a continuation of a lineage that connects us to our ancestors, Mother Earth, and the circle of life itself.
The materials I use, leather, wood, gourds, cornhusks, seeds, pine needles, and clay, are not arbitrary. They are gifts from Mother Earth, carrying the spirit of our ancestors, the people who lived, created, and thrived in this land long before Europeans arrived. Every piece I create is an essential part of our way of life. An intricately carved wooden spoon is a work of beauty and a tool used in daily sustenance. A leather pouch adorned with seeds and beads holds the sacred and the practical alike. A clay or pine needle bowl, formed with care, returns to the earth after its purpose is fulfilled, completing the circle of creation and renewal.
For us, art is not separate from life; it is life. It is spiritual, functional, and temporary, as are all things in nature. This understanding of impermanence, coupled with reverence for our materials, is a key to understanding our traditional arts. Yet, the temporality of our creations does not diminish their worth. Instead, it elevates them, as each piece holds the dust of our ancestors and carries forward the wisdom of countless generations.
As an artist and educator, I have dedicated my life to preserving and sharing the art forms of the Nanticoke Lenape Nation while fostering cross-cultural understanding and appreciation. My teaching spans decades and has reached audiences of all ages and backgrounds. Through residencies, workshops, exhibitions, and media, I have worked to ensure that our traditions endure and inspire both Native and non-Native communities.
My teaching philosophy is rooted in inclusion and accessibility. While I am deeply committed to passing these traditions to my Native community, I also teach others to honor the beauty and significance of Indigenous art. These efforts reflect my belief that art is a bridge, a way to connect people to the land, one another, and the shared human experience.
At the heart of everything I create and teach is the understanding that all life moves in a circle. The gifts of Mother Earth, such as leather, wood, seeds, clay, and pine needles, are not just resources but sacred elements of this eternal cycle. When shaped by human hands, these materials become vessels of beauty and function, imbued with the spirit of our ancestors. Once their purpose is fulfilled, they return to the earth, breaking down to become part of the soil, part of the dust, ready to nurture new growth.
This circle is not only a symbol but a truth guiding my art, teaching, and life. As we honor the gifts we receive from the earth, we prepare them to become gifts for future generations, new seeds, new materials, and new stories. In this way, our traditions are not static; they live, breathe, and evolve, grounded in the unbroken connection between past, present, and future. My deepest hope is that through my work, the circle continues and that those who learn from me will carry forward these gifts, ensuring the resilience of our culture and the enduring beauty of our art.
As an artist of the Nanticoke Lenape Tribal Nation, my work is a living expression of our culture, a testament to the many years of wisdom and skills passed down through generations. My art is not just a craft but a continuation of a lineage that connects us to our ancestors, Mother Earth, and the circle of life itself.
The materials I use, leather, wood, gourds, cornhusks, seeds, pine needles, and clay, are not arbitrary. They are gifts from Mother Earth, carrying the spirit of our ancestors, the people who lived, created, and thrived in this land long before Europeans arrived. Every piece I create is an essential part of our way of life. An intricately carved wooden spoon is a work of beauty and a tool used in daily sustenance. A leather pouch adorned with seeds and beads holds the sacred and the practical alike. A clay or pine needle bowl, formed with care, returns to the earth after its purpose is fulfilled, completing the circle of creation and renewal.
For us, art is not separate from life; it is life. It is spiritual, functional, and temporary, as are all things in nature. This understanding of impermanence, coupled with reverence for our materials, is a key to understanding our traditional arts. Yet, the temporality of our creations does not diminish their worth. Instead, it elevates them, as each piece holds the dust of our ancestors and carries forward the wisdom of countless generations.
As an artist and educator, I have dedicated my life to preserving and sharing the art forms of the Nanticoke Lenape Nation while fostering cross-cultural understanding and appreciation. My teaching spans decades and has reached audiences of all ages and backgrounds. Through residencies, workshops, exhibitions, and media, I have worked to ensure that our traditions endure and inspire both Native and non-Native communities.
My teaching philosophy is rooted in inclusion and accessibility. While I am deeply committed to passing these traditions to my Native community, I also teach others to honor the beauty and significance of Indigenous art. These efforts reflect my belief that art is a bridge, a way to connect people to the land, one another, and the shared human experience.
At the heart of everything I create and teach is the understanding that all life moves in a circle. The gifts of Mother Earth, such as leather, wood, seeds, clay, and pine needles, are not just resources but sacred elements of this eternal cycle. When shaped by human hands, these materials become vessels of beauty and function, imbued with the spirit of our ancestors. Once their purpose is fulfilled, they return to the earth, breaking down to become part of the soil, part of the dust, ready to nurture new growth.
This circle is not only a symbol but a truth guiding my art, teaching, and life. As we honor the gifts we receive from the earth, we prepare them to become gifts for future generations, new seeds, new materials, and new stories. In this way, our traditions are not static; they live, breathe, and evolve, grounded in the unbroken connection between past, present, and future. My deepest hope is that through my work, the circle continues and that those who learn from me will carry forward these gifts, ensuring the resilience of our culture and the enduring beauty of our art.
Work Samples
Gourd and "No-Face" Doll Art
My gourd art series, "Seeds of My Ancestors," meditates on the symbiotic relationship between land, identity, and sustainability. Each piece in this collection begins with a seed, a symbol of life, continuity, and ancestral knowledge passed down through generations. The journey from seed to gourd reflects our deep connection to the land, a connection that nurtures and sustains us as we encourage and sustain it in return.
In creating these works, I honor the ancient traditions of the Cohanzick Lenape people, preserving and passing on this knowledge to ensure it thrives for the next seven generations. Each gourd, shaped by the land and my hands, embodies the wisdom and resilience of my ancestors. The various uses of each piece represent our collective identity, rooted in a shared history and cultural memory, yet open to interpretation by those who encounter it.
This art resonates with the themes of land, identity, and sustainability by emphasizing the interdependence between these elements. Our identity as Lenape is inseparable from the land that sustains us, and in creating these works, I hope to inspire a deeper understanding of the need for sustainable practices that honor both the earth and the traditions that have shaped us. Through this art, I seek to bridge the past and the present, ensuring that the wisdom of our ancestors continues to guide us toward a sustainable future.
The "No Face Ancestor" art helps me keep this tradition alive. However, it also provides me a unique opportunity to explore my artistic ideas about translating its message into my artwork. I create something different without losing its importance to me, my people, and everyone who communicates with it. There are many ways to create no-face dolls.
This art is a long tradition among the Lenape taught to me by my mother. Whenever we create our likeness of any living creature, past or present, we never put a face on it. We do not believe it is our place to make any likeness of any face or creature. Only the creator has the privilege of doing so.
In creating these works, I honor the ancient traditions of the Cohanzick Lenape people, preserving and passing on this knowledge to ensure it thrives for the next seven generations. Each gourd, shaped by the land and my hands, embodies the wisdom and resilience of my ancestors. The various uses of each piece represent our collective identity, rooted in a shared history and cultural memory, yet open to interpretation by those who encounter it.
This art resonates with the themes of land, identity, and sustainability by emphasizing the interdependence between these elements. Our identity as Lenape is inseparable from the land that sustains us, and in creating these works, I hope to inspire a deeper understanding of the need for sustainable practices that honor both the earth and the traditions that have shaped us. Through this art, I seek to bridge the past and the present, ensuring that the wisdom of our ancestors continues to guide us toward a sustainable future.
The "No Face Ancestor" art helps me keep this tradition alive. However, it also provides me a unique opportunity to explore my artistic ideas about translating its message into my artwork. I create something different without losing its importance to me, my people, and everyone who communicates with it. There are many ways to create no-face dolls.
This art is a long tradition among the Lenape taught to me by my mother. Whenever we create our likeness of any living creature, past or present, we never put a face on it. We do not believe it is our place to make any likeness of any face or creature. Only the creator has the privilege of doing so.
#1 Water Bearer & Serpent Bearer (Ophiuchus)
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#2 Tiger Lilies
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#3 Flowers in the Wind
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#4 Wind Feathers
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#5 Dancing Flowers
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#6 It Takes a Village
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#7 No Face Gourd Doll
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#8 No Face Gourd Doll
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#9 No Face Gourd Warrior
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#10 No Face Gourd Doll
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# 11 Multiple gourd arts on display
#12 Flower in the Wind
History of the Art of Gourds in Delaware Lenape Culture
The Delaware Lenape have long cultivated and decorated gourds, blending utility with artistic expression. M.R. Harrington notes in The Indians of New Jersey (1909):
"The Lenape found beauty in everyday objects, crafting gourd vessels with care, often etching or painting them with symbols reflective of their spiritual connection to the land." This tradition extended beyond practicality, with gourds used not only for storing food or water but also as ceremonial items that held cultural significance.
Frank Speck, in his chapter on the Delaware in The Gourds of the Southeastern Indians (1928), further emphasizes the importance of this craft:
"The Delaware took special pride in adorning their gourds with natural dyes and carvings, making each a reflection of personal or tribal identity. These objects, simple yet profound, were deeply tied to seasonal harvests and spiritual ceremonies."
In Lenape culture, the artistry of gourds exemplifies a philosophy where beauty is inseparable from purpose. This perspective challenges Western notions of art, as the Delaware Lenape imbued functional objects with cultural meaning, making them vibrant expressions of their heritage.
The Delaware Lenape have long cultivated and decorated gourds, blending utility with artistic expression. M.R. Harrington notes in The Indians of New Jersey (1909):
"The Lenape found beauty in everyday objects, crafting gourd vessels with care, often etching or painting them with symbols reflective of their spiritual connection to the land." This tradition extended beyond practicality, with gourds used not only for storing food or water but also as ceremonial items that held cultural significance.
Frank Speck, in his chapter on the Delaware in The Gourds of the Southeastern Indians (1928), further emphasizes the importance of this craft:
"The Delaware took special pride in adorning their gourds with natural dyes and carvings, making each a reflection of personal or tribal identity. These objects, simple yet profound, were deeply tied to seasonal harvests and spiritual ceremonies."
In Lenape culture, the artistry of gourds exemplifies a philosophy where beauty is inseparable from purpose. This perspective challenges Western notions of art, as the Delaware Lenape imbued functional objects with cultural meaning, making them vibrant expressions of their heritage.
Pine Needle Art
My pine needle art is a traditional craft passed down through generations of Indigenous communities, including mine, by many mentors. This unique art form uses needles from various species of pine trees to create intricate and beautiful designs.
Pine needle art originated with the northeastern woodland people in many states. It is practiced by our communities throughout the country, and the craft is prevalent in the northeast among the Algonquin people.
For us, pine needle art is a form of creative expression, a way to connect with the natural world and preserve traditional knowledge. Gathering and preparing the pine needles and other materials used in the art is often a communal activity involving storytelling, song, and prayer.
The needles are carefully selected and sorted by size and color, then cleaned and soaked to make them more pliable. We weave the needles with the other materials, using bone or beads to create intricate patterns and designs.
It is better to engage in pine needle art with an understanding of its cultural importance; we can approach the art form with tremendous respect and appreciation. This includes learning about the cultural meanings and significance behind each element of the art form and acknowledging and honoring the Indigenous communities from which the art form originated.
The pine tree is much more than a source of material for crafts like pine needle art. It is deeply intertwined with our cultural heritage and identity and is part of our DNA. This connection between the pine tree and Indigenous people can be traced back through generations of ancestors who have lived in the same geographic area as the tree. The tree and the land it grows have been vital to Indigenous communities' ways of life for centuries, providing food, medicine, and materials for items and other cultural practices.
The water the pine tree relies on to grow also plays a significant role in this connection. Water is a sacred element in many Indigenous cultures and is seen as a life-giving force that connects all living things. The water nourishing the pine tree is part of a more extensive system connecting Indigenous communities to the land and our ancestors.
When Indigenous peoples use the needles from the pine tree in items like pine needle art, it is a way of honoring our ancestors and connecting with our cultural heritage. The needles themselves represent the DNA of our ancestors, carrying the cultural knowledge and traditions of past generations into the present.
For these reasons, the pine tree and its needles are sacred to us as Indigenous peoples. Using needles in items like pine needle art is not just a creative expression but a way of maintaining a deep connection to the land, water, and ancestors that are a part of our cultural DNA.
Pine needle art originated with the northeastern woodland people in many states. It is practiced by our communities throughout the country, and the craft is prevalent in the northeast among the Algonquin people.
For us, pine needle art is a form of creative expression, a way to connect with the natural world and preserve traditional knowledge. Gathering and preparing the pine needles and other materials used in the art is often a communal activity involving storytelling, song, and prayer.
The needles are carefully selected and sorted by size and color, then cleaned and soaked to make them more pliable. We weave the needles with the other materials, using bone or beads to create intricate patterns and designs.
It is better to engage in pine needle art with an understanding of its cultural importance; we can approach the art form with tremendous respect and appreciation. This includes learning about the cultural meanings and significance behind each element of the art form and acknowledging and honoring the Indigenous communities from which the art form originated.
The pine tree is much more than a source of material for crafts like pine needle art. It is deeply intertwined with our cultural heritage and identity and is part of our DNA. This connection between the pine tree and Indigenous people can be traced back through generations of ancestors who have lived in the same geographic area as the tree. The tree and the land it grows have been vital to Indigenous communities' ways of life for centuries, providing food, medicine, and materials for items and other cultural practices.
The water the pine tree relies on to grow also plays a significant role in this connection. Water is a sacred element in many Indigenous cultures and is seen as a life-giving force that connects all living things. The water nourishing the pine tree is part of a more extensive system connecting Indigenous communities to the land and our ancestors.
When Indigenous peoples use the needles from the pine tree in items like pine needle art, it is a way of honoring our ancestors and connecting with our cultural heritage. The needles themselves represent the DNA of our ancestors, carrying the cultural knowledge and traditions of past generations into the present.
For these reasons, the pine tree and its needles are sacred to us as Indigenous peoples. Using needles in items like pine needle art is not just a creative expression but a way of maintaining a deep connection to the land, water, and ancestors that are a part of our cultural DNA.
#13 Pine Needle Basket with Lid
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#14 Pine Needle Basket with Lid
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#15 The Third Eye
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#16 Pine Needle Hair Piece
#17 Artist at Work
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#18 Pine Needle Belt Buckle
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#19 Pine Needle Necklace
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#20 Infinity Spiral
History of Pine Needle Baskets in Delaware Lenape Tradition
The Delaware Lenape also practiced the art of pine needle basketry, transforming the natural materials around them into objects of both beauty and utility. In The Indians of New Jersey (1909), M.R. Harrington describes how, "The Lenape wove baskets from pine needles and other plant fibers, their intricate patterns often reflecting the landscapes and natural rhythms of their homeland." These baskets served a variety of purposes, from storing food to carrying tools, while their craftsmanship embodied a deep connection to nature.
Frank Speck, in The Gourds of the Southeastern Indians (1928), notes that among the Delaware, "Baskets and other woven goods were not merely functional but were adorned with dyes and patterns to mark their use in ceremonial or domestic settings, blending practicality with artistry." This practice demonstrates how Indigenous communities imbued ordinary objects with cultural significance and aesthetic value.
In Pine-Needle Basketry in Schools (1917), William C.A. Hammell highlights the universal adaptability of this craft, noting that "The process of weaving pine needles into baskets teaches not only craftsmanship but also an appreciation for utilizing resources that might otherwise be overlooked. Among Indigenous groups, these techniques evolved into sophisticated designs that conveyed both heritage and identity." This insight underscores the innovative spirit of Lenape artisans, who used locally available materials to create enduring works of art and utility.
The pine needle baskets of the Delaware Lenape reflect a worldview where art and functionality are inseparable, preserving cultural knowledge and environmental harmony in every woven strand.
The Delaware Lenape also practiced the art of pine needle basketry, transforming the natural materials around them into objects of both beauty and utility. In The Indians of New Jersey (1909), M.R. Harrington describes how, "The Lenape wove baskets from pine needles and other plant fibers, their intricate patterns often reflecting the landscapes and natural rhythms of their homeland." These baskets served a variety of purposes, from storing food to carrying tools, while their craftsmanship embodied a deep connection to nature.
Frank Speck, in The Gourds of the Southeastern Indians (1928), notes that among the Delaware, "Baskets and other woven goods were not merely functional but were adorned with dyes and patterns to mark their use in ceremonial or domestic settings, blending practicality with artistry." This practice demonstrates how Indigenous communities imbued ordinary objects with cultural significance and aesthetic value.
In Pine-Needle Basketry in Schools (1917), William C.A. Hammell highlights the universal adaptability of this craft, noting that "The process of weaving pine needles into baskets teaches not only craftsmanship but also an appreciation for utilizing resources that might otherwise be overlooked. Among Indigenous groups, these techniques evolved into sophisticated designs that conveyed both heritage and identity." This insight underscores the innovative spirit of Lenape artisans, who used locally available materials to create enduring works of art and utility.
The pine needle baskets of the Delaware Lenape reflect a worldview where art and functionality are inseparable, preserving cultural knowledge and environmental harmony in every woven strand.
Medicine Bags
A Medicine Bag is a traditional Lenape vessel which contains various items such as many kinds of herbs, stones and other items used for healing and remembrance. It is also used to maintain personal harmony with the physical and spiritual realms. Some might have a small medicine bag to start, but as added life experiences and added objects, over the years in time, often will need to replace the bag with a larger one.
As something that holds necessary items, the medicine bag also has some significant meaning of its own. Things that are added would include items related to a spiritual journey like stones, sweet grass, sage, bones items, hair or fur, dried flowers, roots, leaves or feathers, etc. Each of the items has a special significance in the life of the owner of the bag and is usually added during a major event for remembrance. The contents of the bag are considered sacred and good medicine for that person alone. It can be traditional items or anything else important to the one who carries it. When one receives a bag as a gift, the bag may have an item of good will from the giver.
There are many styles of medicine bags and no two are alike or have like reasons. There are very basic ways of constructing the Lenape medicine bag, some made into soft pouches, some made of tanned animal hides (usually deerskin) and one made of stiff untanned rawhide. I use scallop shells and turtle shells as well. These particular medicine bags are different with a personality of its own. I was taught by my parents at the age 11 when I made my first pouch which is the first photo with the beaded turtle emblem.
As something that holds necessary items, the medicine bag also has some significant meaning of its own. Things that are added would include items related to a spiritual journey like stones, sweet grass, sage, bones items, hair or fur, dried flowers, roots, leaves or feathers, etc. Each of the items has a special significance in the life of the owner of the bag and is usually added during a major event for remembrance. The contents of the bag are considered sacred and good medicine for that person alone. It can be traditional items or anything else important to the one who carries it. When one receives a bag as a gift, the bag may have an item of good will from the giver.
There are many styles of medicine bags and no two are alike or have like reasons. There are very basic ways of constructing the Lenape medicine bag, some made into soft pouches, some made of tanned animal hides (usually deerskin) and one made of stiff untanned rawhide. I use scallop shells and turtle shells as well. These particular medicine bags are different with a personality of its own. I was taught by my parents at the age 11 when I made my first pouch which is the first photo with the beaded turtle emblem.
#21 Leather Bag
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#22 Bright Flower
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#23 Medicine Pouch
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#24 Medicine Pouch
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#25 Medicine Pouch
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#26 Medicine Bag
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#27 Medicine Pouch
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#28 Turtle Shell Pouch
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#29 Medicine Bag
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#30 Turtle Shell Pouch
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#31 Strong Medicine
History of Delaware Lenape Pouches
Pouches played an essential role in the daily lives of the Delaware Lenape, crafted from various materials like leather, gourds, shells, and woven fibers, and adorned with intricate designs that reflected their cultural identity and practical needs. In The Indians of New Jersey (1909), M.R. Harrington remarks, "The Lenape created pouches of many shapes and sizes, each tailored for its specific purpose, whether for storing herbs, seeds, or other small items, often embellished with symbols signifying spiritual protection or clan identity." These pouches served both utilitarian and ceremonial purposes, with their decorative elements often linked to the natural environment or spiritual beliefs.
Frank Speck, in The Double-Curve Motive in Northeastern Algonkian Art (1914), highlights the decorative artistry of Lenape pouches, noting that "The designs, whether painted, etched, or sewn onto leather or gourd surfaces, frequently incorporated the double-curve motif—a symbolic representation of harmony in nature and the cycles of life." This motif, along with geometric patterns, animal imagery, and plant-inspired designs, communicated a deep respect for the interconnectedness of all living things.
Pouches were also crafted from scallop shells and turtle shells, particularly for sacred uses. These pouches, adorned with painted or engraved patterns, were often used to store sacred herbs or ceremonial objects. The use of natural materials like gourds and leather was not merely practical but also symbolic, reflecting the Lenape’s sustainable relationship with the land.
This tradition of pouch-making exemplifies how Lenape artisans merged utility with cultural expression, transforming everyday items into objects of beauty, meaning, and spiritual significance. Each pouch told a story, its design carrying messages of identity, tradition, and connection to the natural world.
Pouches played an essential role in the daily lives of the Delaware Lenape, crafted from various materials like leather, gourds, shells, and woven fibers, and adorned with intricate designs that reflected their cultural identity and practical needs. In The Indians of New Jersey (1909), M.R. Harrington remarks, "The Lenape created pouches of many shapes and sizes, each tailored for its specific purpose, whether for storing herbs, seeds, or other small items, often embellished with symbols signifying spiritual protection or clan identity." These pouches served both utilitarian and ceremonial purposes, with their decorative elements often linked to the natural environment or spiritual beliefs.
Frank Speck, in The Double-Curve Motive in Northeastern Algonkian Art (1914), highlights the decorative artistry of Lenape pouches, noting that "The designs, whether painted, etched, or sewn onto leather or gourd surfaces, frequently incorporated the double-curve motif—a symbolic representation of harmony in nature and the cycles of life." This motif, along with geometric patterns, animal imagery, and plant-inspired designs, communicated a deep respect for the interconnectedness of all living things.
Pouches were also crafted from scallop shells and turtle shells, particularly for sacred uses. These pouches, adorned with painted or engraved patterns, were often used to store sacred herbs or ceremonial objects. The use of natural materials like gourds and leather was not merely practical but also symbolic, reflecting the Lenape’s sustainable relationship with the land.
This tradition of pouch-making exemplifies how Lenape artisans merged utility with cultural expression, transforming everyday items into objects of beauty, meaning, and spiritual significance. Each pouch told a story, its design carrying messages of identity, tradition, and connection to the natural world.
