Jessica Doe is a queer Aniyunwiya inter/multi/anti-disciplinary writer and artist. A citizen of the Cherokee Nation born on the northwest region of Turtle Island (fka Oregon in the United States), her work is rooted in space, place, decolonization, and Indigenization. Described as avant-garde conceptualism, her practice spans books, exhibitions, and cross-genre installations. Her forthcoming poetry collection [sp]RED (Sundress Publications, 2026) Indigenizes the tarot while her short horror story “Miss Cherokee Princess 1996” will be included in Never Whistle at Night: Back for Blood (Vintage Books/Penguin Random House, 2026), the much-anticipated sequel to the best-selling Indigenous horror anthology edited by Shane Hawk and Theodore C. Van Alst Jr. She is represented by Rachel Letofsky, Transatlantic Agency.

Jessica’s doctoral research focused on the intersection of female poetry and eating disorders with an emphasis on Sylvia Plath. Her monograph expands this research to encompass modern/contemporary Indigenous and Indigiqueer poetry. As a Fulbright Senior Scholar in Bengaluru, India, she implemented the first credit-based generative poetry workshop for doctoral candidates at her host university site and curated a community anthology of contemporary Indian poetry written in the colonizer’s tongue. During her time as a Visiting Fellow at the University of Notre Dame, she completed an erasure poetry project using university archives as primary documents and began writing her Indigenous horror short story collection Those We Feed.

Jessica has undertaken poetry and artist residencies globally including at Hosking Houses Trust with an appointment at the Shakespeare Birthplace Trust in Stratford-Upon-Avon (England), at the Penington Friends House in Manahatta (fka New York City) as the Bayard Rustin AiR, and at the Crazy Horse Memorial on Oceti Sakowin territory among many others. Her work has been featured at galleries and exhibitions around the world, including at the Asheville Art Museum on ancestral Aniyunwiya lands, The Emergency Gallery in Sweden, and the Museum of Indian Arts and Culture in Oga Po’geh, land of the Tewa/Tanos (fka Santa Fe, New Mexico).

Artist statement: "I choose to take on the responsibility of using my platforms and work as a means for amplifying Native voices and realities. Such a responsibility, which comes with ample emotional, mental, spiritual, and sometimes physical labor, is not one that should be inherently placed upon Indigenous People. It is, however, one that I have selected to bear, and it is tempered with self-care with an emphasis on ahimsa. I create and partake in experiences that spark discourse and highlight the authenticities and histories prevalent to both NDN country and everyone across Turtle Island ... and the world. Every project I undertake, no matter the medium, addresses Native Truths. This ranges from disparities and issues like the history of “Indian” residential boarding "schools" (of which my father survived, at least physically) to addressing how the disproportionate number of Native children in foster care today is an extension of sorts to the assimilation and erasure goals of those institutions from our not-so-distant past. My own children are from the Oglala Lakota Nation and were adopted via foster care under the Indian Child Welfare Act (ICWA), which further cements my commitment to radical decolonization. My work is inherently personal, stemming from my own life and those of my ancestors. Identity and reconnecting with the Self in a continuously colonizing world are recurring themes as we (as a collective) work towards Indigenous futurism(s)."

Her poetry collection When We Talk of Stolen Sisters (Not a Pipe Publishing) was a finalist for the Oregon Book Awards, received gold in three Human Relations Indie Book Awards categories (Diversity Poetry, Wisdom Poetry, and Realistic Poetry), and was included in the 100 Notable Books of 2022 by Shelf Unbound. Her short horror story “Poached” was selected for the Institute of American Indian Art’s (IAIA) ChapterHouse 2025 Indigenous Fiction Prize as judged by Debra Magpie Earling. Jessica has received numerous fellowships in recent years supporting her writing, including the Everett Helm Visiting Fellowship at the Lilly Library at Indiana University, Bloomington and the Eccles Centre Visiting Fellowship at The British Library in London. She is regularly featured at events around the globe, such as the US State Department’s National Poetry Month event “Poets as Cultural Emissaries: A Conversation with Women Writers” and the “Women’s Transatlantic Prison Activism Since 1960” symposium at Oxford University. Her full CV is available here.

Beyond her work in writing and art, Jessica is an experienced registered yoga instructor (ERYT-500®), registered children’s yoga teacher (RCYT®), registered prenatal yoga teacher (RPYT®), registered yin yoga teacher, registered aerial yoga teacher, certified Yoga Alliance Continuing Education Provider (YACEP®), certified in Reiki I and II, and is a NASM-certified personal trainer (CPT). She teaches yoga to unhoused populations at various shelters and community centers via the nonprofit Renew-All. When she isn’t creating and/or dismantling in the colonial sense, she can often be found traveling, antiquing, and practicing a hybrid ritual routine that includes tarot, yoga, ceremony, and overall good medicine.