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Qoyawayma, Al – “In the Beginning” Double Walled Jar
10.75" long x 4.75"w x 4"h
$ 7,500.00
This is a very unusual piece by Al Qoyawayma. The piece is made from red Hopi clay. The shape is rounded and fluid with the exterior polished. It is “double walled”, meaning that one area has a second wall separate from the exterior wall of the jar. The double wall surrounds the incised ammonite fossil. The piece is entitled “In the Beginning” and it starts with the “ammonite fossil” Al has carved and incised into the clay. The back wall of the jar has a Key Hole doorway and a Pueblo wall scene. The exterior of the piece is fully polished. The interesting part of the story is that when the piece is turned on its end, it becomes the shape of a Corn Maiden! The piece represents “beginnings” in many different ways. It is signed Al Qoyawayma.
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Brand:Qoyawayma, Al (b. 1938)
Description
This is a very unusual piece by Al Qoyawayma. The piece is made from red Hopi clay. The shape is rounded and fluid with the exterior polished. It is “double walled”, meaning that one area has a second wall separate from the exterior wall of the jar. The double wall surrounds the incised ammonite fossil. The piece is entitled “In the Beginning” and it starts with the “ammonite fossil” Al has carved and incised into the clay. The back wall of the jar has a Key Hole doorway and a Pueblo wall scene. The exterior of the piece is fully polished. The interesting part of the story is that when the piece is turned on its end, it becomes the shape of a Corn Maiden! The piece represents “beginnings” in many different ways. It is signed Al Qoyawayma.
jar has a round shoulder and an asymmetric rim. It is made from traditional Hopi red clay. The jar is polished in a vertical manner. There are two ears of corn that are in “reppousse” or pushed out from the inside, NOT applique. This is very much in the style of his aunt, Elizabeth White. Each of the ears of corn is matte and textured to represent the kernels. The contrast of the matte and polished surfaces works to enhance the design and form. It is in excellent condition with no chips, cracks, restoration, or repair. It is signed on the bottom in the clay, “Al Qoyawyama”.
“The earliest corn motif is found on pottery in Ecuador dating to 1900 BC. The technique was to push out from the inside of the pottery the basic form of the corn ear shape and then sculpt the kernel decoration or relief. Al and Elizabeth White (his aunt) saw an exhibit of “Ancient Ecuador, CUlture, clay, and creativity” at the Field Museum in Chicago in 1975. They realized that they were creating a similar technique at Hopi. Elizabeth began using this motif in the early 1960s. The corn motif is used in sacred respect of the corn in sustaining Native Americans over at least the last several thousand years.” Al Qoywayama, Hopi Potter, 1984
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Qoyawayma, Al (b. 1938)
Al Qoyawayma
Al Qoyawayma has created two distinctive styles of Hopi pottery. The first style embodies figurative sculpted reliefs using the repousse technique, combined with traditional coil construction and tactile stone polished surfaces. The resulting contemporary Hopi pottery calls forth images of the Southwest with its subtle mix of desert hues, creating an interplay of light and shadow reminiscent of the Hopi land. This land and the essence of his ancient relatives nurture and inspire the artist.
The second is polychrome and a "futuristic" version of Sikyatki pottery from the 1500s. The pieces are carved and slipped with various clay colors. The precision of the carving and the contrasting colors make this style visually dynamic.
Al writes of himself:
"I am of the second generation of Hopi beyond the broken pattern, a pattern, a way of life utterly foreign to the western world. With the real influence of western civilization, I am the product of two worlds. Out of our family clan, the Coyote Clan, it was said that we would be the generation to meet the new world and make a change that was our ancient role as the Coyote Clan….to be those who go before. Therefore, it is only natural that one of our necessary survival skills, as exhibited by our ancestors, should be adapted to today's art world. Through the gentle hand and guidance of a beautiful teacher, my aunt Polingaysi, I learned the basic techniques and philosophy I now use in my pottery creations.
My clay creations reflect the southwest environment's aesthetic influences and values passed down through our family. Form, textures, contrasts, shadow, and the softness of desert color hues are foremost in my work. Oral history and research provide me with emerging themes; identifying who we are is a profound pursuit. At the same time, my repoussé technique offers a "contemporary" style of ceramics. A particular tradition does not restrict me; I'm free to innovate. I find myself trying to "reach" in my creative pursuit as I strive to bring into focus human and spiritual things beyond my reach. Creativity will always be my challenge."
Al Qoyawayma won "Best of Pottery" at the 2016 Santa Fe Indian Market and "Best of Pottery" at the 2017 Heard Indian Market.