Nora Naranjo-Morse (born 1953) is a celebrated Tewa artist and poet from Santa Clara Pueblo, New Mexico. Known for her multidisciplinary approach, she works across sculpture, installation, film, and creative writing to explore the complexities of Pueblo identity, environmental stewardship, and the impact of modern culture on Indigenous traditions. Born into a distinguished family of potters, Naranjo-Morse expanded beyond traditional ceramic forms early in her career. She gained widespread attention for her humorous and poignant clay figure, "Pearlene," whose experiences navigating both the Pueblo and Western worlds served as a vehicle for social commentary on consumerism and cultural displacement.

Her practice is deeply rooted in the materials of the land, frequently utilizing organic elements like earth, sand, and wood to create works that address the cyclical nature of life and the environment. One of her most significant public commissions, Always Becoming (2007), is a series of large-scale outdoor sculptures located at the National Museum of the American Indian in Washington, D.C. These forms were designed to erode and change over time through exposure to the elements, illustrating her philosophy that art is a living, evolving process rather than a static monument. By allowing the sculptures to return to the earth, Naranjo-Morse challenges Western notions of permanence and preservation in art.

Naranjo-Morse's work has been exhibited at major institutions, including the Heard Museum, the Denver Art Museum, and the Minneapolis Institute of Art. She is also a published author, most notably for her poetry collection Mud Woman: Poems from the Clay, which integrates her literary and visual explorations of Tewa life. Throughout her career, she has received numerous honors, including a fellowship from the Native Arts and Cultures Foundation. Through her commitment to community-based projects and environmental activism, Naranjo-Morse remains a vital voice in contemporary art, bridging the gap between ancestral knowledge and modern conceptual practice.