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As I approached Upper Bradley Park from Columbia Terrace, a colossal dark form emerged, resembling a mountain and evoking a profound connection between the earth and the surrounding trees. In the location where the Columbus statue once stood, we now find the latest public artwork by Preston Jackson, titled “Never Extinct: A Pictorial History of Indigenous People.”

LISA NELSON RAABE

During the extended period of deliberation regarding an appropriate replacement, the Peoria Park District commissioned the sculpture from Jackson. We are well-acquainted with a number of Jackson’s sculptures along the riverfront, on the Jefferson Street side of the Civic Center, “Richard Pryor,” and of course, his expansive installation in the Riverfront Museum of “Bronzeville to Harlem.”

Jackson, along with Joy Kessler, Michael Wiant, Steve Montez, and Jo Lakota, embarked on a journey to Dixon Mounds and Emiquon Wildlife Refuge to deepen their understanding of the lore and profound connection to the earth embodied in the American Indian heritage. The sculpture emerged from this investigation into the indigenous people of this central Illinois region. Numerous tribes have inhabited this area, including the Lakota, Chippewa, Potawatomi, Kickapoo, Peoria, and Miami tribes, which are now located in Oklahoma.

I delved into this connection through a conversation with Lakota, a storyteller of traditional tales, artist, and advocate for the native community. She has dedicated her life to teaching on reservations in the western United States and in the Pekin school district. Lakota consulted with Jackson during the conceptualization and realization of this sculpture.

We examined the extensive details presented, encompassing the elements of earth, wind, and water. The stone edifices of the Illinois River bluffs and the construction of portable dwellings made of saplings and woven mats were notable. Lakota explained that mats woven from cattails could be dismantled, stacked during transportation, and utilized for up to five years, rendering them transportable.

Among the numerous individuals depicted, Lakota herself and her son Jimmy are seen in a canoe, while her step-granddaughter, Storm, a fancy dancer, is constructing a wigwam. Other community members, portrayed as inspired figures, embody the tradition and spirit of ceremonial attire, characterized by highly ornamented beadwork on tops and skirts, bracelets, and necklaces, as well as boned and beaded vests. A prominent male figure holds stone weaponry, while another wears a bear claw necklace and a deer hair headdress, all indicative of a life closely connected to nature.

LISA NELSON RAABE

The Buffalo, which faced near extinction, is prominently featured. Facing us directly, it visually supports the jagged limestone bluffs of the Illinois River above surrounded by entwining corn, gourds, squash, and beans growing between the land and sky.

A Falcon soars above, nesting in the cliffs, a revered symbol of power, speed, keen vision, and spiritual connection. The falcon serves as a messenger between the earthly and spiritual realms, representing guardianship and protection.

Additionally, the sculpture depicts Indian schoolchildren, a dark period when U.S.-run institutions (17th-20th centuries) were designed to forcibly assimilate Native American children by prohibiting indigenous languages and traditions. This cruel lack of respect and a reference to the Long Walk, during which Indians were displaced from their homes, highlight the numerous travesties that occurred as we encroached upon Native American lands.

In this sculpture, we perceive connection of past and present. Its placement is surrounded by gnarled catalpa trees, which share witness of this land and the people who inhabited it before us. Visitors to the park may encounter a spiritual connection to ancestors and Earth. And if one listens closely, you may hear the rustle of grasses, the native sounds of drumming, dancing, and chanting.