Honoring Heritage Through Art: Tishara Sneed’s Ceramic Masks and Cultural Reflection

Art is more than just a form of self-expression—it is a bridge between the past and present, a means of preserving and sharing cultural identity. For Tishara Sneed, a member of the Eastern Band of Cherokee Indians (EBCI) with Diné (Navajo) heritage, this connection to tradition came to life through her participation in "The Art of Profession" exhibit at the Hickory Museum of Art.

A visual arts major at Lenoir-Rhyne University, Sneed showcased a series of ceramic masks inspired by her Cherokee heritage. “At home, these masks are traditionally carved from wood, but I work with clay,” she explained. Her work draws from Cherokee artists and incorporates traditional pottery designs, such as the Medicine Man mask adorned with symbolic motifs. Among her pieces, her favorite creation, Stickball Mask, is an original design that reflects her cultural roots and creative ingenuity.

Bringing Cherokee Culture to a Wider Audience

For Sneed, the experience of displaying her work publicly was both exhilarating and a step outside of her comfort zone. “I’ve never done anything like that before, and things like that make me kind of get out of my shell because I am a really shy person,” she shared. However, the opportunity to introduce non-Cherokee viewers to traditional art forms made the experience even more rewarding.

“People who are not from Cherokee had never seen it, so that gave me a chance to tell them what it was and explain. And tell them, ‘If you want to see more like that, you should visit Cherokee. There are a lot of artists out there that have the same type of work as I do.’”

Her art serves as a conversation starter, opening doors for deeper understanding and appreciation of Cherokee and Navajo traditions.

A Passion for Mask-Making

Sneed’s journey with mask-making began in her junior year, when she first experimented with small clay masks. Inspired by traditional Cherokee woodcarving, she became captivated by the artistry involved. While working at the Museum of the Cherokee People in high school, she had the opportunity to watch master carvers at work, an experience that left a lasting impression:

“I just liked how they do it—they sit there and carve it. I would see some of the people display how to make them, and I would watch them sit there and carve the masks. I just thought, ‘Whoa, that’s really cool.’”

As she prepared her senior portfolio, she felt drawn to scale up her work, creating larger, face-sized ceramic masks that would fully embody her artistic vision.

The Challenge & Reward of Exhibition

Preparing for the exhibit was both challenging and rewarding. Some pieces required weeks of meticulous work.

“Painting the background for one of my designs took about a month and a half,” Sneed recalled.

Despite the time commitment, the collaborative environment of her Advanced Studio Practices class, with its regular critiques and peer feedback, provided invaluable support. This feedback helped refine her work and encouraged her to push artistic boundaries.

Challenging Perceptions & Inspiring Others

Despite the deeply rooted Cherokee and Navajo influences in her work, some museum visitors initially mistook her masks for African or decorative art. Their curiosity, however, led to meaningful conversations, giving Sneed a chance to share the rich traditions that inspired her:

“They were asking me a bunch of questions like, ‘What kind of mask is this?’ I told them, ‘I’m from Cherokee. I’m Cherokee and Navajo, so I look back on some of those things just to get my ideas.’ They were like, ‘That’s really cool. That’s really great.’”

As she continues developing her artistic style, Sneed looks to other Cherokee artists for inspiration, including Michelle Long, known for her polymer clay masks, and John Henry Gloyne, whose intricate painted masks capture cultural stories with incredible detail.

Art as Advocacy

Beyond the technical aspects, this exhibition holds deep personal significance for Sneed. As vice president of the Native American Student Association and president of the Art Club at Lenoir-Rhyne, she is passionate about sharing her culture through art. One of her upcoming pieces will address the issue of Missing and Murdered Indigenous Women (MMIW), symbolized by a red handprint over the mouth.

“I want to show people that we’re still here, living and thriving, and to raise awareness about important issues within our community,” she stated.

A Rare Opportunity for Emerging Artists

Being part of a museum exhibit at this stage in her career was a significant milestone. Claire Pope, M.A., M.F.A., assistant professor of art at Lenoir-Rhyne and instructor for the Advanced Studio Practices class, emphasized how valuable this experience is for students:

“It’s rare to have a museum show early in an artist’s career. This platform allows students to express their unique visual voices to a broader audience. It’s about helping students realize who they are as artists and supporting them as they evolve.”

Sneed’s work was featured alongside classmates Meredith Cecil, Connie Dale, and Vivien Becker Peralta, all of whom brought their own artistic perspectives to the exhibit.

Looking Ahead

Set to graduate this May, Sneed’s journey as an artist is only just beginning. Her work not only deepens her own cultural connection but also fosters greater visibility and appreciation for Cherokee and Diné artistic traditions. As she continues her series of clan masks and expands her advocacy through art, she remains dedicated to celebrating and preserving Indigenous culture—one mask at a time.

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