Cherokee Tale

The ancient tale of land and water, darkness and light. This was how children in towns and villages across the Southeast learned who they were, where their ancestors had come from, how the world itself had come to be. There were different versions – probably as many as there were old people – but the heart of the story was the same. Around the home fires of a Cherokee town, it might have gone this way:

Long ago, before there were any people, the earth was a great island floating in a sea of water, suspended by four cords hanging down from the sky vault, which was made of solid rock. It was dark and the animals could not see, so they got the sun and sest it in a track to go across the island every day from east to west, just overhead.

The Creator told the animals and plants to stay awake for seven nights. But only a few of the animals were able to, including owls and panthers, and they were rewarded with the power to go about in the dark. Among the plants, only the cedars, pines spruces, and laurels stayed awake, so they were allowed to remain green year-round and to provide the best medicines. The Creator chided the other trees: “Because you have not endured to the end, you shall lose your hair every winter.”

People appeared last, after the animals, the sun, nad the plants, but they multiplied so quickly that they threatened to overrun the world. So it was decided that each woman would have only one child a year, and it been that way ever since.

Through Indian Eyes – The Untold Story of Native American Peoples by Reader’s Digest ©1995

Jackson, Ann. (2022). Land and Water, Darkness and Light (Cherokee Tale). [Acrylic mixed media on canvas]. Soddy-Daisy, TN: Private Collection. 16×20″

This piece is SOLD.

I have many photos of Albert Paley’s iron fence at the Hunter Museum of Art in Chattanooga, TN, starting from the 1980s, including one of me standing in front of the gate. A particular view of this fence has adorned my phone wallpaper for several years, so it was only natural for it to inspire a painting. This painting made me so happy, I executed a second one of a different view of the fence.

Jackson, Ann. (2022). Albert Paley’s Iron Fence. [Acrylic mixed media on cradle board]. Soddy-Daisy, TN: Private collection. 12″x12″

Jackson, Ann. (2023). Albert Paley’s Iron Fence II. [Acrylic mixed media on cradle board]. Chattanooga, TN: Private collection. 12″x12″

I was commissioned to create a pair of horse head paintings, with the backgrounds already completed and sketches underway when my client and good friend suddenly passed away.

A couple of months later, while examining the background of one canvas, I noticed it resembled denim. A smile crossed my face as I realized my deceased friend would appreciate the fact that I painted a denim-clad booty (my own) against his horse head background. And that’s how Cornbread Booty came to life.

As for the title? It’s a nickname given to me by an ex-co-worker. (Thanks, Zennia!)

Cornbread Booty needed a companion, so I created Lucky You to complete the pair.

“RIP Richard! You are missed tremendously, and I know you would be delighted with the outcome of your paintings. I can hear you saying, ‘Well, that’s what I really wanted but wasn’t going to ask.’”

Jackson, Ann. (2021). Cornbread Booty. [Acrylic on canvas]. Chattanooga, TN: Private collection. 10″x10″
Jackson, Ann. (2021). Lucky You. [Acrylic on canvas]. Chattanooga, TN: Private collection. 10″x10″