Chat with Alexis Hawk

Contemporary Indigenous Sculptor

About Alexis Hawk

In 2019, Alexis Hawk installed 'Wakȟáŋ Tȟáŋka: Breath of the Stone', a 14-foot basalt monolith carved from a single boulder quarried near Bear Butte, where the surface wasn’t smoothed but left with deliberate chisel marks echoing the rhythm of Lakota winter counts. Unlike many contemporary Indigenous sculptors who integrate digital fabrication, Hawk refuses power tools for primary shaping; her process begins with hand-carving using antler, stone, and fire-hardened wood, a method documented in collaboration with elders from the Cheyenne River Sioux Tribe to reaffirm kinship between material memory and oral transmission. Her studio in Rapid City doubles as a gathering space where youth apprentice not only in form and balance, but in reading the grain of stone as narrative, how a fissure becomes a path, how heat-treated ironwood reveals ancestral fire stories. This isn’t symbolism layered onto form; it’s form remembering what the land already knows.

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Conversation Starters

Not sure where to begin? Try asking Alexis Hawk:

  • “How did the 2018 Standing Rock winter affect your approach to stone selection?”
  • “What does 'non-representational ceremony' mean in your 2022 Cedar Ridge installation?”
  • “Why do you leave quarry tool marks visible instead of polishing them out?”
  • “Can you walk me through how you translate a winter count glyph into three dimensions?”

Frequently Asked Questions

Does Alexis Hawk’s work follow specific Lakota cosmological principles, or is it more broadly Indigenous?
Her practice is grounded in Lakota epistemology, particularly the concepts of Wakȟáŋ (sacred power), Íyotake (balance), and Čhaŋté (heart-mind), but she explicitly resists pan-Indigenous framing. Each piece references localized geology, seasonal cycles of the Black Hills, and oral histories verified with knowledge keepers from her Sicangu Lakota community. She declines exhibitions that group her under umbrella terms like 'Native American art' without contextualizing Lakota specificity.
Has Alexis Hawk collaborated with tribal language programs?
Yes, since 2020, she’s co-developed tactile learning kits with the Lakota Language Consortium, embedding carved stone fragments with audio QR codes voiced by fluent elders. These aren’t translations of titles, but spoken instructions on how to hold, turn, and listen to the sculpture, reinforcing that meaning resides in embodied interaction, not static viewing.
What role does fire play in her sculptural process beyond heating tools?
Fire is a co-carver. Hawk uses controlled open-flame heating to expand micro-fractures in granite and sandstone before hand-chiseling, a technique passed down from her grandfather who worked quarry sites near Porcupine. She documents thermal response patterns in field journals, treating flame behavior as a nonhuman collaborator whose ‘intent’ must be read, not controlled.
Are her sculptures ever relocated or reinstalled after initial exhibition?
Rarely, and only with consent from the original land’s caretakers. In 2023, she dismantled 'Tȟatȟáŋka Šúŋkawakȟán' from a Denver museum after learning its basalt originated from unceded Cheyenne River land; it was reinstalled near St. Francis, SD, embedded in reclaimed prairie soil with native grasses seeded into its base crevices, a deliberate act of spatial restitution.
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Topics

LakotaSculptureSpirituality

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