Jason Wesaw: Sovereign Spirits
2025-03-07 18:00 - 2025-08-25 19:30 (America/Indiana/Indianapolis) | Contemporary Art Museum of Indianapolis (CAMi), 1125 Cruft St., Indianapolis, IN, 46203, United States
Potawatomi (Turtle Clan) artist Jason Wesaw’s exhibit consisting of sculpture, drawings, prints, and installation is linked to the beliefs of his culture related to land, specifically the ground where Tube Factory now sits. This land has been part of Potawatomi lands at different times in history before the United States existed. For this reason, Wesaw used earth and materials from Terri Sisson Park on the Tube Factory campus to create some of the works in this fully commissioned show.
Tube Factory’s chief curator, Shauta Marsh, looked to Wesaw because she felt his work offers a form of time travel — connecting us to a time before and to the present and ways to envision a future with shared connections and value tied to the land. And, in doing so, Wesaw brings people together today and across generations. “An overarching tenant of my practice is a commitment to examining relationships,” he said. “Relationships act as a guidepost for me, whether it’s connecting to family and community, to spirit and my observations in the natural world, or to materials: those which are considered modern art mediums, or found and harvested materials.”
Two pieces anchoring Wesaw’s Sovereign Spirits exhibit to the place where the Tube Factory sits are the tall flowing installations of shimmering satin and taffeta ribbon.
“They address the way that I interact with the underside of life, the places beneath the surface where spirit moves in subtle and powerful ways that only focused reflection and observation can reveal,” Wesaw said.
Wabshkya Sen or White Stone, is a piece about the help we receive through ceremonies that bring us healing and good health, both physically, emotionally, mentally, and spiritually. Bean Creek draws attention to the urban stream just outside the walls of the gallery, where we can be reminded that the cleansing, moving spirit of the water can often be found sharing its life force if we simply pause long enough to let our senses guide us to her flowing banks for a quiet moment.
Wesaw will also create an installation composed of black ash baskets or Gokpenagenek. A quintessential and ancient art form amongst the Potawatomi, black ash baskets are not merely functional or decorative objects, they weave together ancient cultural knowledge about the importance of maintaining relationships to the land and each other with a value system based upon reciprocity.
“These baskets are a reflection of our community’s ongoing presence on this Land and they remain a treasured art form practiced by the Potawatomi and many other Tribal Nations. Many of the baskets on view in this collection were made by ancestors of the Pokagon Potawatomi people of northern Indiana and southwest Michigan, with others having been made by their descendants who now carry on this beautiful, customary art form,” Wesaw said.
The intimate, small-scale oil pastel drawings that line the wall illustrate Wesaw’s process of observation and structure, ideas that often are fleshed out even further in his larger works. The textile pieces from his ongoing Blanket Series explore ideas around the transfer of knowledge that occurs between spirit, nature, and human beings, what he sees as a subtle, gentle ceremony of offerings and giveaways.
In the textile and ceramic works, lies an interest in the power of ornamentation, with materials like dyed deer tail and shiny, small objects drawing your gaze closer into the work. Collectively, the work in Sovereign Spirits shows a wide breadth of materials being used, but there is a united spiritual aesthetic of the pieces, regardless of the time, space and dimension in which they are constructed.
“In a quest for connection and common ground,” Wesaw said. “Where is it you look to find the source which helps you move with meaningful purpose, fulfillment, and Love? With Sovereign Spirits, I hope to take you on a journey where you can explore the power of Self, including the connections we have to the communities around us, the longing we feel to belong, and our desires to understand our place amongst all of creation. As we so casually ask for help or guidance from a higher power in difficult times throughout our lives – we must also understand that when spirit comes looking for something from us – that we need to be ready to give back without hesitation or fear; in essence, to have faith. The work in this exhibition recognizes the role of land, water, and skies as we seek a deeper, clearer understanding of Spirit and Self.”
The exhibition’s title, Sovereign Spirits, resonates with meaning across history. “Sovereign is a word most-often used to describe the undisputed authority of political entities, or to imply supreme power and autonomy. Indeed, this is a word that the Potawatomi — and all Tribal Nations — have become eerily familiar with in our centuries-long fights to maintain our traditional culture and inherent human rights, in a country founded on freedoms for all,” Wesaw said. “By stripping away themes centered around history or distinguishing labels like ‘Indian’ and ‘Native American’, what we may find as those layers are peeled back is a deep awareness of the natural world around and within us, and the connection we have to beings other than humans. In an increasingly fast-changing world where the land and people are being eaten up as a resource, there is a humble acknowledgement we can make in understanding the power of reciprocity and the place Spirit holds in the physical world we are living.”
About the Artist: Jason Wesaw works in an array of media including ceramics, textiles, works on paper, and traditional cultural pieces. His projects relate stories about the Potawatomi people’s ancient and evolving connection to the Land, the Sky, the Water, and Beyond. He balances being an artist with working in his Tribal community as a Peacemaker and participating in traditional cultural ceremonies across the Great Lakes. Wesaw is Potawatomi (Turtle Clan) and lives near the historic Pokagon Potawatomi settlement of Rush Lake in southwestern Michigan. His work is in the permanent collections of the Eiteljorg Museum, Grand Valley State University in Michigan, the University of Notre Dame, the Field Museum in Chicago, the Indiana State Museum, and many other regional institutions. He was recently a Mellon Artist-in-Residence at the Newberry Library for the ‘Indigenous Chicago’ exhibition and is a core artist in the current “Woven Being” group exhibition at The Block Museum of Art at Northwestern University.
Learn more about Wesaw by visiting his Instagram account @jasonwesaw.
The exhibition is made possible by the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, Efroymson Family Fund, the Institute of Museum and Library Services.
The show is part of a long term project, Social Alchemy, conceived by Big Car co-founders Shauta Marsh and Jim Walker and artist and philanthropist Jeremy Efroymson, explores historical and contemporary examples of utopian experiments, fictional utopias and dystopias, and social and cooperative-living design projects.
About Tube Factory artspace: Tube Factory is a contemporary art campus and community center. There are four galleries on the campus, two are commissioning galleries. Admission is free. It is also the home base for Big Car Collaborative’s work across Indianapolis and beyond. Tube Factory features rotating exhibits, interactive projects, community space, a reference library, an outdoor gathering space, and much more to find through exploring. Tube Factory is an independent, noncommercial, nonprofit public place.
Tube Factory is run by the 501(c)(3) arts nonprofit, Big Car Collaborative. As an artist-run nonprofit organization, we utilize tools of culture and creativity to build community and social cohesion — connecting people as a way to boost quality of life. We support our community by supporting artists.
Much of our work happens on a single block where we own or co-own more than 20 properties — including a long-term affordable housing program for artists and Tube Factory — a contemporary art museum with a cafe, studios, and community space. At our campus of adaptive reuse buildings and public greenspace, we host community and cultural programs to promote social connectivity, cooperation, and creativity.
We also facilitate people-focused placemaking and place keeping projects across the city and beyond through Spark. Tune in to our experimental, community-focused radio station, WQRT 99.1 FM — also streaming at wqrt.org. Learn more at BigCar.org and TubeFactory.org.
About Indiana and Tribal Land (from the Indiana State website):
There are two tribes that have land in Indiana.
The Pokagon Band of Potawatomi received a small portion of their land back from their removal in Indiana. The Pokagon Band of Potawatomi is a federally recognized tribe. It is one of 573 federally recognized tribes in the United States. The Bureau of Indian Affairs contacted Chairman John Warren to state that their tribe, Pokagon Band of Potawatomi, had been approved on November 18, 2016 to receive 166 acres of land in trust in South Bend, Indiana. The tribe successfully put a few housing units and tribal government buildings to assist their tribal members living in Indiana. It also built a 175,000 square foot and 1,800 Class II gaming devices, four restaurants, a player’s lounge, a coffee shop, two bars, a retail outlet and approximately 4,500 parking spaces including an enclosed parking structure.
The second tribe that has land in Indiana is the Miami Tribe of Oklahoma. The tribe was given land to put a Cultural Extension Office for their tribal members living in Indiana to attend specific gatherings, ceremonies and education events at this office located in Fort Wayne, Indiana.
There are approximately 25,000 other tribal members who live in Indiana, from the Apache, Cherokee, Navajo, Comanche, Lakota Sioux, and other federally recognized tribes.
Information via: faqs.in.gov/hc/en-us/articles/360033547051-Are-there-any-Native-American-tribes-in-Indiana

Ben Hall: Trunk Rattle Sound Bath
2025-05-02 18:00 - 2025-06-15 17:00 | IN
Trunk Rattle Sound Bath merges ongoing areas of Ben Hall’s research into polyrhythm (the simultaneous use of two or more contrasting rhythms), sonic immersion, and ancestral resonance through the lens of embodied listening. The title draws from the cultural experience of low-end frequencies booming from car trunks — windows shaking with no discernible rhythm, the body absorbing it all. “Vibrational frequencies are in everything,” Hall says. “Our bodies. We are observing by vibration even when we shut down. Our nervous system is still there, thrumming.”
With this new body of work, Hall focuses on not just what is played or heard, but what is felt, what is transferred through vibration, what buzzes and rattles in the body long after the source has passed. The body is a resonant shell for the vibrations that occur all around us. “The 17th-century Dutch physicist Christian Huygens observed the entrainment of pendulums,” Hall explains. “He noted in 1655 that if two pendulum clocks were placed near each other, they would synchronize. They wanted to be in rhythm with each other — but it was, and is, not instant. That move toward synchronization, toward harmony… The experience of rhythm, of immersion in sound, of allowing your body to be an entire resonating chamber is to allow that process to begin each time — and allow for the vibration to be you.”
Inspired by the mbira, a traditional African thumb piano with metal tines and built-in buzzers used in spiritual ceremonies to connect with ancestors, Hall draws a throughline from West African sonic cosmologies to Midwestern street corners. “Those buzzes are supposed to be the actual frequencies that cut through to the ancestors,” he says. “The consequence of the sound is what communicates with another world.” In this way, the sound bath is not a cleansing ritual in the New Age sense, but a full-bodied immersion in histories.
Hall makes the connection between the mbiras of tradition and the trunk rattle of modernity. “When you are at the red light next to the Buick,” Hall says, “you’ll notice that the rattling and buzzing is not consistent with the rhythm created by the bass frequencies coming from the vehicle. Often, it will seem that the rattling of your windows — a different distance, a different material from the sound maker — is not even related at times to the rhythm, as though the frequencies you’re hearing in the passing vehicle are somehow coincidental to the vibration in your home.”
Trunk Rattle Sound Bath invites visitors to consider rhythm not only as musical but as a way of knowing, of feeling, of remembering. “When a frequency, a sound (but also a rhythm, a repetition) occurs to us at a different frequency than the one we live in,” Hall says, “we are receiving energy. Frequency is just another way to say energy.” Whether through sound, image, or movement, Hall’s work opens a space for that energy to circulate — and for the body, buzzing like a loose antenna, to receive it. “Vibrational frequencies are in everything,” Hall declares.
About the artist: Ben Hall is an artist and composer based in/from Detroit, Michigan. He was profiled in Fred Moten’s 2017 book, Black and Blur and frequently works as a critic and essayist with a research focus on the visionary American composers Milford Graves and Bill Dixon. He formerly served as a senior research fellow at the Center for the Advancement of Public Action at Bennington College from 2018-2022. He has presented prints, drawings, film, sculpture and works for sound in numerous exhibitions including the solos Jives & Gambles at Essex Flowers in NYC and Slow An Alarm Until It’s A Tone at MOCAD (Museum of Contemporary Art Detroit). He is currently compiling material for the forthcoming publication, A Black Liberation Music Guide.
Curator: Landon Caldwell
Live performance: June 8, 12pm by Hall’s ensemble, Oceanic Beloved.
This exhibition is made possible by the Indy Arts Council and the City of Indianapolis, the Indiana Arts Commission, Allen Whitehill Clowes Charitable Fund, The Andy Warhol Foundation for the Visual Arts, and Efroymson Family Fund.

Sketch Club with India Hines
2025-05-07 15:00 - 17:00 | IN
If you love sketching and are looking for community, come hang out and draw with our longterm artist in residence, India Hines.
India Hines, a self-taught artist from Denver, CO, and raised in Indianapolis, IN, uses ink, watercolor, and oil paints to explore spirituality and the subconscious. Their intuitive process results in figurative faces and organic shapes that reflect a journey of growth, resilience, and love. India’s art is deeply meditative, rich with emotional depth, and narrates stories of overcoming adversity. Active in community projects and exhibitions, India believes in art’s power to unite and continues to push creative boundaries while exploring personal growth and self-discovery
