Dorothy Ami is a cousin of noted potter Mark Tahbo. This is one of her larger jars.  It is intricately painted with a series of Hopi birds encircling the piece.  The top and bottom have triangular geometric patterns. The birds are painted with red, burdundy and while clay slips. The black is bee-weed (a plant).  The large size and the dynamic designs flow beautifully on the surface of this piece!  It has been traditionally fired so there are blushes on the surface. It is signed on the bottom in the clay.

Loren Ami’s pottery is inspired by traditional Hopi designs and forms. Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired.  This bowl is stone polished and painted with four butterflies or moths as the design.  This is a fascinating use of a very old design.  The body of the each moth is in the center and the wings are polished red. It is the head of each moth which is the mouth of the bowl!  Loren has perfectly used the form of the bowl to become part of his design.  The bowl is traditionally fired which creates the blushes on the surface.  Loren is certainly one of the traditionalist Hopi-Tewa potters to watch, as each new piece reveals his strength as both a potter and an artist!

Loren Ami’s pottery is inspired by traditional Hopi designs and forms. Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired.  This jar is one of his classic shapes with a wide shoulder and a turned out neck.  Loren said that the design on this jar was inspired by the Hilili Katsina.  The are inspired by the mask worn by the katsina.  The Hilili Katsina’s name comes from the call or noise that he makes. He is a Guard Kachina, who is mainly seen holding Yucca whips. He has become a popular guard at the ceremonies due to his dancing style. He can bee seen in the Powamu and Night dances.  The jar has been traditionally fired which creates the blushes on the surface.  Note the use of the mica in the red clay slip!  It is signed on the bottom.

Calvin Analla learned to  make pottery from his sister, Yvonne Lucas and her husband, Steve Lucas.  This unique bowl is made from mixing two different types of clay together.  That creates the mottled appearance of the clay.  The bowl is a classic shape and it is painted with cloud and rain designs.  Note the very fine lines of the rain pattern!   The designs are painted on with bee-weed (a plant).  The bowl is amazingly thin walled, which is typical of Calvin’s pottery.  It is signed on the bottom.

Martha Appleleaf learned to make pottery from her mother, Carmelita Vigil Dunlap. Today she continues to create distinctive pottery with traditional designs.  This is a classic shaped water jar with a sharp shoulder and a micaceous clay rim. The jar has been painted with a green clay slip, which has a very subtle green coloration after the firing. The design is a feather pattern around the shoulder and a prayer feather design around the neck.  Below the shoulder are tadpoles. The jar is signed on the bottom in the clay.

Dolores Aragon is known for her miniature pottery. This small seedpot is painted with a flower pattern on the top. The design extends outward with additional flower petals.  While it is small, it is beautifully painted!  It is signed on the bottom.

Rachel Aragon is known for her classic Acoma pottery.  This water jar is a classic Acoma shape with a high shoulder and slightly turned in neck.  The jar has birds on two sides and the remainder is painted with a very intricate fine-line pattern.  The delicate lines are inspired by classic Acoma pottery from the late 1800’s.  The jar is signed on the bottom in the clay.

Mary Ester Archuleta is the second youngest daughter of Margaret Tafoya.  While she no longer makes pottery she was active in the 1970’s and 1980’s.  Much of her pottery was inspired by the incised San Juan style of pottery as she married into San Juan and lived there.   This is one of her carved melon bowls.  It is a beautiful shape and highly polished.  There are 21 ribs on the bowl and each is carved into the clay and separated by a matte band.  It is perfectly polished and a stunning black mellon.  It is signed on the bottom in the clay, “Mary E. Archuleta.  It is in perfect condition with no chips, cracks, restoration or repair.

Mary Ester Archuleta is the second youngest daughter of Margaret Tafoya.  She has never made a lot of pottery and most of it was in the 1970’s and 1980’s. A majority of her pottery was inspired by the incised San Juan style of pottery as she married into San Juan and lived there.  This bowl is a classic round shape with bear paws as the design.  It is perfectly polished and a stunning deep red color.  It is signed on the bottom in the clay, “Mary Archuleta”.  It is in perfect condition with no chips, cracks, restoration or repair.

This is a beautifully shaped jar by Mary Ester Archuleta.  The jar has a round body and a slightly turned out neck.  It is fully polished red and carved around the body with a kiva step design.  The carved areas are polished tan in contrast to the red of the remainder of the jar.  There is also the traditional cream colored slip painted into the carved areas.  It is signed on the bottom in the clay, “Mary E. Archuleta.  It is in perfect condition with no chips, cracks, restoration or repair.  Mary is the second youngest daughter of Margaret Tafoya.  She married into San Juan Pueblo in the late 1960’s and created most of her pieces in the San Juan inspired style.

Alvin Baca is known for his classic melon ribbed jars. This black jar is carved with 24 ribs.  It is fully polished even to the base! The shape is a classic for Alvin with the high shoulders but the use of the rounded neck is a new addition to his style.  The jar is signed on the bottom in the clay.

Alvin Baca is known for his classic melon ribbed jars. This red jar is one of his few miniatures.  There are sixteen ribs on the jar.  It is fully polished even to the base! The shape is a classic for Alvin with the high shoulders but the use of the rounded neck is a new addition to his style.  The jar is signed on the bottom in the clay.

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This bowl is very highly polished and it is one of her classic shapes with a sharp shoulder.  There are rain and prayer feather patterns painted on the shoulder of the piece.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This oval shaped bowl is very highly polished.  Typical of her work it is formed with a very sharp shoulder.  The designs are painted onto the polished surface.  Looking at the bowl, there are cloud, rain and lightning patterns.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

While living at Santa Clara Pueblo, Harrison Begay, Jr. learned to make Santa Clara style carved and polished pottery.  This jar is carved with a story scene.  There are two bears with the stars in the sky. As the jar is turned there are three rows of eagle feathers.  Finally there is a stream, cave and cloud pattern.  It is charming how the imagery changes as the piece is turned.  The designs are either polished or matte, which Harrison alternates to accentuate his imagery. Note as well the style of carving, which has a beveled appearance to the angle of the cuts into the clay. This is a very distinctive style of carving for his pottery.  This jar has been fired brown, so there are some striking color variations as the piece is turned.  Harrison has won numerous awards for his work and continues to be one of the leading innovators in Native American Indian pottery.  The jar is signed on the bottom in the clay.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  The boxes are inspired by the traditional corn meal boxes which were used ceremonially. Today, few potters consider making boxes, as they are technically so difficult.  This box is very traditional with a water serpent encircling the piece. The avanyu is fully polished and the tongue is slipped with a micaceous clay.  The lid is micaceous with a polished top.  The eye of the avanyu is a single piece of Damale Turquoise inset on the back.  It is signed on the bottom in the clay.  It is striking use of traditional designs and form.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  The boxes are inspired by the traditional corn meal boxes which were used ceremonially. Today, few potters consider making boxes, as they are technically so difficult.  This amazing box is a larger size and captures that amazing ability Autumn has to combine her fanciful designs with classic Santa Clara imagery.  This box has a fox craved on one side and it is fully polished.  The head and eyes are highlighted with white a mauve clays.  On either side of the fox are flower patterns which are polished and surrounded by a micaceous clay slip.  The other sides of the box have lightning pattern, rain and additional flower patterns.  Now the corners of the box where the flowers are polished, which is very complicated to achieve a good polish at that angle.  The lid is micaceous and there is a single inset piece of Damale Turquoise on the back of the fox figure.  The fox figure is sculptural and matches the fox on the box.  It is signed on the bottom in the clay.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  This box is a difficult shape to create with the flat sides.  The box has four rabbits carved into the side . Each rabbit is different and each is fully polished.  There is an additional white clay slip on the belly of each rabbit. They are surrounded by a micaceous clay  slip.  The top of the box is fully polished and has a rabbit figure.  The rabbit is matte and and has a single piece of Damale Turquoise inset on the back.  It is signed on the bottom in the clay.  It is a fanciful piece and yet chariming form and design.

This jar by Autumn Borts-Medlock is an exceptional shape with flat sides and a round base.  It is fully carved with Pueblo style dragonflies on two sides. The other two sides have cloud and bird patterns carved into the clay. The entire piece is fully polished with small areas of matte to contrast with the shine of the polish.  The lid is also unusual with a twist for the top and sections on the end which extend down over the side of the jar!  The jar is beautifully stone polished and an exceptional example of Autumn’s innovative style

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  This seedpot is oval in shape.  It is fully carved with cloud pattern on one end.  The clouds are polished tan and matte. Above the clouds are circular rain drops and a triangular sun pattern. As the seedpot is turned there is a galaxy style swirling behind the rays of the sun. The bottom has an additional swirl of clouds.  Note the depth of the carving and the various shapes and use of different clay slips.  Exceptional! It is signed on the bottom in the clay.

Autumn Borts-Medlock is known for her often fanciful carved pottery and use of unique shapes.  This seedpot is fully carved with three flowers as the design.  The flowers are each fully polished and there is a white clay slip used for the center of each.  She has also used a green clay slip for the leaves of the plants.  Separating each fo the flowers are swirling cloud designs.  Above the flowers is a lighting, cloud and rain design polished red.  She has carved her signature “circles” into the clay and they are highlighted with a mauve clay slip.  Note as well how she has used a micaceous clay slip for the background matte area.  This adds just a bit of sparkle to the piece in the right light!  The bowl is nearly completely carved!  In addition, the carving is sharp and it has an amazing feel when it is held.  It is signed on the bottom in the clay.

This is a fascinating piece by Autumn Borts-Medlock and her mother, Linda Cain. Over the years they have created some extraordinary collaborative pieces.  This large jar is very feminine in shape and this follows through to the design.  The jar has a series of women surrounded by large flowers.  The design is intricately carved into the clay.  It is polished red and tan and there are white and purple matte clay areas.  It is definitely a fun and fanciful jar!  The piece was made in 2004 and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.  The scale of the jar along with the complexity of the carving make this a exceptional piece of their art.  Autumn is a sister of noted potter Tammy Garcia.  Both Autumn and Linda have won numerous awards for their pottery, recognizing their creative and contemporary style of carving.

This is a extraordinary piece by Autumn Borts-Medlock and her mother, Linda Cain. Over the years they have created some extraordinary collaborative pieces.  This jar has kiva steps carved into the rim of the piece. The center of the piece is carved with a flower, which is matte and has small pin-point indentions.  The center of the flower has a turtle and a single inset piece of turquoise on its back.  There are three lightning arrows, which are polished, extruding from the petals of the flower. The remainder of the piece has a micaceous clay slip. The matte, polished and micaceous slipped areas creates a striking appearance for this jar!  Autumn is a sister of noted potter Tammy Garcia.  Both Autumn and Linda have won numerous awards for their pottery, recognizing their creative and contemporary style of carving.

Ashley Browning creatively uses her photographic and graphic skills to create imagery that captures a moment or life in contemporary Pueblo culture.  This digital photo is called, “Generation Hands”.  It is certainly one of the most powerful of her digital photos.  Ashley says, “The models are  (Top to bottom) Samantha Whitegeese, Mindy Little Yellow Bird, Tina Whitegeese, Michele Tapia Browning and Lu Ann Tafoya.  It is a portrait of four generations of strong women, a Student, a disabled woodworker, a corporate person, an artist and a potter. On their arms is the tewa words that represents their relations to me. So it goes from top to bottom: younger relation (no real tewa word for cousin), relation (no real tewa word for sister), aunt, mother and grandma.”  The original photo was taken and then overlayed with the words in Tewa.   The first in this series won a FirstSecond Place at Santa Fe Indian Market in 2014. There are 10 pieces in the edition and it is framed in a black frame.

Ashley Browning creatively uses her photographic and graphic skills to create imagery that captures a moment or life in contemporary Pueblo culture.  This digital photo is called, “NDN iPhone”.  The hand model is Shaandiin Tome.  Ashley says of this piece, “It has hand drawn icons that are a Native version of iPhone apps, it is placed that are set on top of Montana Tee Pees.  So cool, it should be made into an actual apps.”  Take a closer look a few of the apps, as they certain capture the life of many Native artists.  Ashley certainly has an extraordinary sense of cultural critique in her artwork.  The first in this series won a Second Place at Santa Fe Indian Market in 2015. There are 10 pieces in the edition and it is framed in a black frame.

Ashley Browning creatively uses her photographic and graphic skills to create imagery that captures a moment or life in contemporary Pueblo culture.  This digital photo is called “NDN-opoly”.  Ashley writes of this piece, “It is a hand drawn illustration of a Native American Monopoly. It represents Pueblos (the Man on the top and the Pueblo homes), Navajos (the man in the middle holding the sheep and fry bread), and Plains Indian (the tee pees). I think this is such a cool idea they should make an actual game!”.  The first in this series won a Second Place at Santa Fe Indian Market in 2015. There are 10 pieces in the edition and it is framed in a black frame.

Ashley Browning uses her photographic and innovative graphic skills to create her unique digital photo compositions. This piece is entitled, “Paper Doll” and utilized Leslie Browning Tafoya as the model.  Ashley says of this piece, “After playing with paper dolls as a child, I always wanted to play with a pueblo paper doll, especially a paper doll from my pueblo of Santa Clara. I inspired it from the summer side, where there is a mix of different style and colors.”  The piece is creative with the various traditional clothes from Santa Clara. She ended up dressing the model three different times for the clothing ‘options’.  Native People’s Magazine wrote about Ashely and this piece,

 “I like to make people feel, to remember something—experience something meaningful,” says Ashley Browning, 21, of Pojoaque and Santa Clara pueblos in New Mexico. In 2013 she won first prize at Indian Market for best computer-generated graphics with her “real-life” paper doll, which featured a digitally altered photo of her model with interchangeable traditional and contemporary attire. With it, Browning used the digital present to evoke memories of the previous generation’s analog world.”

The first piece in this series won first place ribbon at Santa Fe Indian Market in 2013.  It is an edition of 10 and framed in a black frame.

This unique shape vessel by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts-Medlock.  It is carved with an avanyu on one side, with a very stylized circular appearance.  The opposite side has a water design carved into the clay.  The carved areas are polished red while the remainder of the jar is a matte tan.  The contrast of the matte and polished surfaces creates a striking distinction and emphasizes the imagery.

This is an intricately carved square seedpot by Linda Cain.  She is a daughter of Mary Cain and the mother of potters Tammy Garcia and Autumn Borts-Medlock. This seedpot has flat sides and each side is deeply carved with designs.  There is a bird. cloud and rain designs. She has used polished and micaceous surfaces to create visual contrasting with her carved designs.  The top of the seedpot has a flower pattern and the lid is the stem of the flower, creating an unique 3D appearance.  The seedpot is signed on the bottom.

This is an intricately carved miniature jar by Linda Cain. Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts-Medlock.  The jar has a striking round shape with a carved avanyu as the design. The neck is carved with asymmetrical feathers.  She has created a distinctive contrast between the matte and polished surfaces.  For such a small piece, she has carved deeply into the clay, which is always more difficult.  The jar is signed on the bottom.

Daryl Candelaria is one of the few potters working at San Felipe Pueblo.  He studied both historic and contemporary pottery at the School of American Research in Santa Fe, NM.  This jar is one of his classic “Shard” pots.  It is coil built and each of the “shards” is carved into the clay.  What makes it so extraordinary is that each shard is either painted, polished or carved in a representative manner the various Pueblos.  Few potters have the technical ability to create so many diverse surfaces, let alone on one vessel!  As the jar is turned the classic Zia, Jemez and Hopi designs.  The carved and polished red section with the avanyu head is reminiscent of San Ildefonso.  The figure and parrot are inspired by the Awatovi murals.  There are San Felipe geometric designs along with a red polished and micaceous section.  Note as well the red-on-red section and the black-on-black section.  Amazingly the various styles and techniques blend beautifully on the jar.   It is signed by the artist and it is in excellent condition with no chips, cracks, restoration or repair.  What a perfect way to portray the history and techniques of Pueblo pottery in one vessel!

Hubert Candelario is one of the few potters working at San Felipe Pueblo.  This is one of his “puzzle pots” which has a deeply carved design which encircles the entire surface of the piece.  The interior of the carved designs is slipped with a black mineral clay.  The surface is slipped with a micaceous clay which gives it the color and shine.  There is a modern fell about this unique design which has a very free flowing motion across the surface of the seedpot.  This seedpot is from 2004 and it is in excellent condition with no chips, cracks restoration or repair.

Barbara & Joseph Cerno are known for their large coil built vessels.  This large jar is a striking shape and painted with  birds and surrounded by rainbows.  The various colors are derived from natural clay slips.  The flow of design and the intricacy of the painting is simply stunning!   The jar is from 1986 and it is in very good condition with no chips, cracks, restoration or repair. There is some spalling from the clay which can be seen in the photos.   Barbara & Joseph remain among the most renown contemporary Acoma potters for their revival of historic patterns..

Lorraine Chinana (b. 1955) has been making pottery since 1981.  She learned to make pottery from her grandmother Reyes S. Toya.  This bowl is fully polished and etched into the clay with an “op-art” style of design of butterflies.  Each wing of the butterfly is connected to the next.  It is a delicate but beautiful pattern.  The bowl is signed on the bottom in the clay.

This jar by Alice Cling has a narrow base and has an asymmetrical rim. The idea is that the rim looks like the mountains and mesas in the Southwest.  This jar is fully polished red and then fired outdoors.  The striking variation in the color are from the smoke and fire.   The colors on this piece are extraordinary as there are areas which range from red to black.  The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

This jar by Alice Cling has a lightning carved shape to the rim.  The remainder of the jar is highly polished red but note that she has added a band of green clay slip around the rim of the jar.  It creates a striking visual contrast after the firing.  The jar is traditionally fired and ranges in color from deep red to black. The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

This jar by Alice Cling has a round shoulder and a long neck.  The shape is elegant with the proportions.  The entire jar is highly polished red. It is then outdoor fired and the stunning variation in the color are from the smoke and fire.   The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

This jar by Alice Cling has a high shoulder and a square mouth.  The jar is highly polished red. It is then outdoor fired and the stunning variation in the color are from the smoke and fire.  Note the color variation from a deep red to dark black.  The square mouth adds to the overall strength of the form. The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

Susie Crank is a daughter of Rose Williams and a sister of Alice Cling.  This is one of her classic shaped water jars.  The jar is slipped with a red clay and then traditionally fired. The various colorations are created from the smoke in the outdoor firing.  The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof.  It has striking color variations from red to black.  It is signed on the bottom.

Dolores Curran contineus to create intricately incised and painted pottery.  She was inspired to create these red polychrome incised and painted by her husband, Alvin Curran.  He was known for his incised San Juan style pottery in the 1990’s.  This is one of her larger pieces and it is extraordinary in its design!  The jar has a polished neck and base.  Around the center of the piece it is fully designed.  Just above the shoulder is an incised water serpent (avanyu).  It is slipped with a red clay and surrounded by a micaceous clay.  Around the side there are very intricately incised feathers, each with additional designs from cloud to lightning to rain patterns.  Opposite from one another are a sun and moon pattern.  The sun has the red face and the moon the white.  All the various colors are derived from natural clay slips. All the designs are incised (cut very shallow) into the clay!  They are then highlighted with the clay slips.  Near the base, there are little red-on-red dragonflies painted on the jar.  The lid is fully polished and has a micaceous clay slipped bear on the top.  On the polished part of the lid there is a water pattern and a little old style dragonfly!  Amazing detail and imagery!  The jar is signed on the bottom in the clay.

Dennis Daubs is known for his intricately incised pottery.  Each piece is coil built, stone polished and the imagery is etched into the surface of the clay.  This jar has a water serpent around the shoulder of the piece.  Above and below are eternity belt patterns.  The designs are very intricately etched and note the precision of the lines.

Juan Cruz is creating some beautifully painted polychrome pottery.  He is a son of noted potter Lois Gutierrez.  Lois made the jar and Juan, who is noted for his illustrations, painted the design using natural clay slips..  The jar is a classic water jar with a low shoulder and elongated neck.  Juan wrote a description of the jar as follows,

“This piece depicts a scene from a story of the two Blue Corn sisters who receive a special song that Grandmother Spider promises to bestow upon them.  It relates how the song they were taught was sung: Formerly we were Blue Corn women, now we are Morning Star.  With this song and other aid provided by Grandmother Spider, they were prepared for the forthcoming battle.”

The jar is truly polychrome (more than three colors of clay).  Note the intricacy of the painted designs and especially how he depicts Grandmother Spider with her basket and the web.  There is an open section of the jar and the intricate designs and the Blue Corn are tightly painted and utilize a variety of colors. There is simply a striking flow of design as the jar is turned and captures the sophistication of Juan’s painting style.  The jar has been traditionally fired outdoor and overall is a striking coloration.  It is signed on the indented bottom of the jar by both Juan and Lois.  The description is written on the back of a hand painted graphic of a Pueblo woman.  What a phenomenal addition to this piece and the painting helps to better understand how exceptional Juan is with his art.

Tina Diaz has skillfully created her own unique style of carving pottery.  She is one of only a handful of Santa Clara potters who has mastered the technique of polishing her pottery tan.  The tan is the natural color of the clay and the most difficult to polish to achieve a high shine.  This red and tan jar with a as a classic avanyu (water serpent) encircling the piece.  It is intricately carved with elaborate designs for the body of the piece.  Note the various sections which create swirls and various angles for the design.   It is always technically difficult to carve such sharp angles and delicate edges into the clay.  The background has the traditional cream colored slip, which few potters use today because it is difficult to apply.

Tina Diaz has skillfully created her own unique style of carving pottery.  She is one of only a handful of Santa Clara potters who has mastered the technique of polishing her pottery tan.  The tan is the natural color of the clay and the most difficult to polish to achieve a high shine.  This red and tan jar is fully carved with very sharp geometric patterns.  The jar has rain patterns which are the melon ribs extending across the design.  The remainder of the piece consists of tan polished prayer feather patterns. The number of individual sections makes this a very complex piece for both carving and polishing!  It is always technically difficult to carve such sharp angles and delicate edges into the clay.  The background has a red colored slip for contrast with the tan.  The piece is signed on the bottom, “Tina Diaz”. 

Tina Diaz has skillfully created her own unique style of carving pottery.  She is one of only a handful of Santa Clara potters who has mastered the technique of polishing her pottery tan.  The tan is the natural color of the clay and the most difficult to polish to achieve a high shine.  This red and tan jar is fully carved with a rain swirl design on one side polished tan. There is a stylized bird next in tan with a red lightning pattern.  Next is a cloud near neck neck with rain and plant designs near the base.  Finally there is a fed polished lightning pattern as the design returns to the tan rain swirls.  This jar is very intricately carved with elaborate designs for the body of the piece.  Note the various sections which create swirls and various angles for the design.   It is always technically difficult to carve such sharp angles and delicate edges into the clay.  The background has the traditional cream colored slip, which few potters use today because it is difficult to apply.

Debra Duwyenie is well known for her wonderful miniatures and incised designs. Each piece is stone polished and then it is etched before it is fired! This seedpot is a larger piece for Debra and amazingly complicated with its designs!  The matte red areas are parts of the design in which the polished slip is scratched away leaving the matte red.  Note in the tan area of the background that more deeply incised lines.  The complexity of the design is amazing on this piece, especially how the flowers and bird wings all seem to interconnect!  There are birds and flower across the entire surface of the piece. On one side is a sun or Tewa design with the surrounding feather pattern and the opposite has a rainbow.  The lid is made by Preston Duwyenie.  It is silver cast against cuttlefish bone to create the design.  The bottom of the silver lid and the bottom of the seedpot are both signed.  It is stunning in the complexity, polishing and complement of the lid with the imagery on the piece!

Debra Duwyenie is well known for her wonderful miniatures and incised designs. Each piece is stone polished and then it is etched before it is fired! This seedpot has a feather pattern on the top. There are various fish and  turtles as the design below.  Each of the turtles has a different design on the back.  Note the one with the wavy lines, that one is meant to represent Preston Duwyenie, her husband, who is known for his “shifting sand” pottery.  Note that the lighter red matte areas are where Debra has only etched away the polished surface but not down as far as the tan color of the clay. Debra also pays close attention to the little details like the tan background area and how evenly she etches the vertical lines.  The lid is made by her husband Preston.  It is case from cuttlefish bone and cast in silver.  It has the same “shifting sand” style pattern as the back of the one turtle. The bottom of the lid is stamped with Preston’s hallmark.

This jar was made by Perston Duwyenie and polished and incised by Debra Duwyenie.  The jar is one of Preston’s classic wide shoulder pieces with the asymmetrical mouth.  The body of the piece is slipped with a red micaceous clay.  The top of the shoulder has been fully polished and etched by Debra.  There are 7 larger turtles and 6 smaller ones. Each turtle has a different design on the back.  Note that there is always one which represent Preston with the wavy lines on the back (for his shifting sand designs).  There are stars surrounding the turtles as they are swimming!  It is a beautifully designed piece and complex in the variety of designs.  The jar is signed on the bottom with Preston’s hallmark and Debra’s name.

This piece by Preston Duwyenie is made from red Hopi clay. The shape is inspired by early Sikyatki pottery with wide, low shoulders.  The body of the piece is fully polished with a matte area near the top.  The polished area is meant to represent the earth, the raised area the waters and the higher matte areas the land and mountains.  It is “the earth in balance” as all three are connected.  The bowl is rounded on the bottom and there is an acrylic base which comes with the piece to hold it steady.  The bowl is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This jar is made from a white clay which he finds near Second Mesa at Hopi.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design is carved into the clay so that it have a very natural appearance.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  Separating each of the three panels are rectangular sections, each with a single inset piece of silver, which Preston casts from cuttle-fish bone (a type of squid).  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The thin walls of the bowl, the organic feel of the shifting sand and the strength of the silver insets are perfect on this piece.  The piece is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds near Second Mesa at Hopi.  The clay fired a tan coloration.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has a stylized corn plant shape.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds near Second Mesa at Hopi.  The clay fired a tan coloration.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has the shape of a road runner.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

“Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

This is a traditional ladle or spoon by Preston Duwyenie.  It is made from a red clay found near Hopi.  The entire piece is fully polished. There is an inset piece of silver on the handle. The silver is meant to represent the shifting sands found in the areas around Hopi.  The silver is cast against cuttle-fish bone (a type of squid).  The silver is inset after the firing and there is a design etched on both ends.  The ladle is signed on the back in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

This piece by Preston Duwyenie is made from white Hopi clay found near Third Mesa at Hopi.  The clay is stone polished and when fired has an eggshell white appearance.  There is a single piece if inset silver on the top of the shoulder.  The silver is meant to represent the shifting sands around Hopi.  It is cast against cuttle-fish bone (a type of squid).  This process creates a similar style of shifting sand design to complement the clay.  The bowl is rounded on the bottom and there is an acrylic base which comes with the piece to hold it steady.  The bowl is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.e.

Max Early is one of the few traditional potters working today at Laguna Pueblo.  His work combines tradition forms with a blend of contemporary and traditional designs.  This jar is inspired by an older Laguna jar with fine-line patterns.  The center of the jar has  bold geometric forms which are painted with lines.  The lines are both red and black. They are separated by cloud and mountain patterns.  The neck of the jar has cloud and rain forms along with small corn designs.  The jar is a beautiful shape with a slightly elongated neck and a rounded base. The the rounded bottom harkens back to the traditional Laguna pottery when the water jars were meant to be carried on one’s head.  Note as well his use of the various clays to create a “three color” jar!   The jar is also traditionally fired, which adds to the overall difficulty of the piece.  It is certainly exciting to see a potter who is inspired by traditional shapes and designs and yet has the artistry to create his own distinctive variation!

Max Early is one of the few traditional potters working today at Laguna Pueblo.  His work combines tradition forms with a blend of contemporary and traditional designs.  This jar has as series of hummingbirds and flowers as the design.  The flowers, especially around the neck of the jar, are very traditional in Laguna style.  Note as well his use of the various clays to create a “three color” jar!   The jar is also traditionally fired, which adds to the overall difficulty of the piece.  It is certainly exciting to see a potter who is inspired by traditional shapes and designs and yet has the artistry to create his own distinctive variation!

James Ebelacker is a son of noted potter Virginia Ebelacker and a grandson of Margaet Tafoya.  He is known for his larger vessels, but this is one of his few smaller pieces. It is a classic double shoulder water jar.  It is very highly polished and has the classic rainbow ridge for the double shoulder. The jar is polished to a very high shine and traditionally fired black.  Even the inside of the neck is polished!  The jar is signed on the bottom in the clay.

Jason Ebelacker is a son of Richard Ebelacker, a grandson of Virginia Ebelacker and a great-grandson of Margaret Tafoya.  Jason is known for his traditional pottery shapes.  This jar has a classic water jar form with the low shoulder and slightly turned out rim. It is deeply carved with a swirling cloud pattern which extends from the rim to the sharp shoulder. The carving is deep and the jar is fully polished.   The entire piece has to polished at one time and it has a high shine and great angle of reflection from the shape.   Jason is certainly one of the younger potters to watch!

Spectacular!  This jar by Jason Ebelacker is an extraordinary vessel, which finds its reference in a very historical form. There are classic Santa Clara jars made by Jason’s great-great grandmother SaraFina Tafoya, which had a low shoulder and a “triple” rainbow band.  Each band circles out from the neck of the jar, almost as if they are ripples in water.  Jason has created this form with a very flat and wide base.  each ridge is just a bit higher than the next and the jar has an elongated neck.  The neck is just slightly flared out and it is even polished on the inside!  There are bear paws carved into the clay on both sides, signifying the significance of the jar has a water vessel.  Note as well the exceptionally stone polished surface. The time to polish the various levels of the jar and achieve such a dynamic polish is something few potters are able to achieve today.  How well is the jar polished, note in the photo how the neck is reflected onto the shoulder!  Yes, stunning!  Jason is a son of noted potter Richard Ebelacker and grandson of Virginia Ebelacker.  Jason has won numerous awards for his pottery and continues to be one of the important younger potters to watch.  Pottery at this level of creativity and quality are certainly a reflection of both his talent and the future!

This is an exceptional lidded box by Jason Ebelacker.  He is a son of Richard Ebelacker and grandson of Virginia Ebelacker.  Jason has been focusing on traditional shapes for his pottery.  This box is fully carved around the side with a water serpent (avanyu) design, which encircles the entire piece.  It is difficult to create boxes, especially larger ones, as the flat sides tend to crack in drying and firing.  The design here flows around the surface and yet changes in each panel! It is beautifully designed. The surprise to the piece is the lid, where he has carved in reverse another water serpent! The polishing and clean carved lines are striking on the piece.   Jason is certainly one of the younger potters to watch!

Victor Eckelberry is known for his deeply carved pottery.  This wide shoulder jar has a carved water serpent (avanyu), encircling the piece.  The neck has a water design.  The jar is signed on the bottom.

Tim Edaakie and Bobby Silas work together on their pottery. Tim is Zuni while Bobby is Hopi and their pottery is created to envision historic pottery shapes and designs.  This jar is a very classic shape with a wide shoulder, a sloping neck and a slightly turned out rim.  The jar has heartline deer and flower medallions around the side.  The neck has creatively painted rain birds. The fine lines are evenly painted and add to the overall connection to the historic style.  The bottom of the jar has an indented base, which reminds one of the historic pottery and how it was worn on the head. All the various colors are from natural clay slips.  It is signed on the bottom.

This jar is thin walled and very tightly painted with an “op-art” basket pattern. The weave lines are in black, red and white and spiral around the surface of the jar.  The imagery goes from small at the rim to larger at the shoulder and then small again at the base. The jar has a classic water jar shape with the round shoulder and slight neck.   Paula has a wonderful ability to match the shape and designs of her work perfectly!

Mary Louise Eteeyan is known for her delicately painted pottery and carved lids.  This bowl is painted around the body of the piece with a kiva step and plant design.  Mary Louise uses classic Jemez clays to create her designs.  The lid has a polished rim and a sculptured butterfly on top.  Note the detail in the design and shape of the butterfly!  The base of the bowl is also fully polished red.

Mary Louise Eteeyan is known for her delicately painted pottery and carved lids.  This bowl is painted around the body of the piece with a kiva step and plant design.  Mary Louise uses classic Jemez clays to create her designs.  The lid has a polished rim and a sculptured butterfly on top.  Note the detail in the design and shape of the butterfly!  The base of the bowl is also fully polished red.

Erik Fender is the son of Martha Appleleaf and the grandson of noted potter Carmelita Dunlap. Erik combines classic San Ildefonso imagery with his own creative style. His pottery is signed, with his Tewa name, “Than Tsideh”.  This open bowl is carved on the outside with an avanyu and has a micaceous clay slip. The inside of the bowl is very fully painted with a feather, rain and cloud pattern.  It is a striking contrast between the polished interior and the mica exterior.  However, it is the complexity of a fully designed piece which makes this bowl so extraordinary.  It is signed on the bottom.

This piece by Anita Fields is an amazing combination of clay, cloth and articulation.  The clay “doll” has separate arms and legs which have been joined together inside the body.  They are articulated so that they actually move!  The body of the figure and the chair are all one piece.  Anita has then added the cloth dress onto the figure.  She says of the dress and clothing, “Anita was influenced by traditional Osage ribbon work, clothing, and blankets. She also studied the objects and ceremonial dress of other tribes. The personal and emotional elements in these textile designs led Anita to use them symbolically in clay, translating the personality of these vestments into her work. About one of her recent series, Native American Dresses, which are coil-and slab-built installations, Anita says: “The dresses convey my attitudes toward the strength of women and how native peoples show remarkable resourcefulness and adaptability toward their environment. The clothing Indian women created shows great pride, dignity, and hope in a culture facing insurmountable odds.”  It is an exceptional piece combining culture and clay together.   It is in excellent condition with no chips, cracks, restoration or repair.

This is an exceptional piece by Anita Fields.  It is a very large dress made from clay with designs on both sides.  The use of clothing and traditional dresses is a focus of her work. This piece has the classic “elk tooth” style on one side and a figure on the other.  “Anita was influenced by traditional Osage ribbon work, clothing, and blankets. She also studied the objects and ceremonial dress of other tribes. The personal and emotional elements in these textile designs led Anita to use them symbolically in clay, translating the personality of these vestments into her work. About one of her recent series, Native American Dresses, which are coil-and slab-built installations, Anita says: “The dresses convey my attitudes toward the strength of women and how native peoples show remarkable resourcefulness and adaptability toward their environment. The clothing Indian women created shows great pride, dignity, and hope in a culture facing insurmountable odds.”  It is an exceptional piece combining culture and clay together.   It is in excellent condition with no chips, cracks, restoration or repair.

Spectacular!  This is phenomenal vessel by Jody Folwell for the show, “Peering Through Taos Light”. This piece was inspired by an E.I Couse painting entitled, “Moki Snake Dance”. Jody took the idea to a masterful level. The vessel itself was fully coil built. She then wet the top and bottom so that the clay dissolved.  The remaining piece was then fired.  Jody said that she wanted to create a appearance of the piece being a piece of masonry or an old adobe brick, from a wall at Hopi.  Given the shape she created, she then painted her version of the Couse “Snake Dance” painting on one side.  The opposite side has a Hopi bird pattern. The form, concept and color all work perfectly on this piece. It is signed..well, it is signed on the painting, of course!

Jody Folwell is known for her creative pottery shapes and designs.  This bowl is one of her classicforms with an asymmetrical polished rim.  The design on one side is a water serpent pattern which is etched into the clay.  The opposite side has a flower motif in the clay.   The bowl is fired brown with various colorations from the firing.  It is signed on the bottom, “Jody”.   It is in excellent condition with no chips, cracks, restoration or repair.

Jody Folwell is known for her creative pottery shapes and designs.  This bowl is one of her unique shapes with with an asymmetrical rim, a round body and one flat side!  The flat side has the etched design.  Jody says the figure is a cross between a water serpent and a lizard.  There are additional corn and star patterns on the side.   The jar is fired brown with various colorations from the firing.  It is signed on the bottom, “Jody”.   It is in excellent condition with no chips, cracks, restoration or repair.

This is a fascinating jar from Jody Follwell. The shape is one of her distinctive water jar with a wide shoulder and elongated neck. The jar is polished red around the neck and base while it is matte tan around the shoulder. The jar is designed with both etched and incised imagery.  Around the neck of the jar is female figure sitting by a tree along with a ground hog. Around the shoulder is a figure floating in a river surrounded by fish.  There are also additional feather and star patterns which are etched into the clay.  The bottom of the jar is fully polished and it is signed on the bottom, “Jody”.

Jody Folwell is known for her creative pottery shapes and designs.  This bowl is one of her few miniatures.  The jar is highly polished and etched with a feather pattern around the body of the piece.  There are both larger and smaller feathers along with the Folwell family “x”.  The various colors on the surface are from the firing.  It is signed on the bottom, “Jody”.   It is in excellent condition with no chips, cracks, restoration or repair.

Jody Folwell and her daughter Susan are each well known for their innovative pottery.  It is always interesting to see what they will create when they collaborate on their work.  This large jar was made by Jody and designed by Susan.  From the rim to the top of the shoulder it is polished.  The asymmetrical rim gives the idea of waves with the imagery of the fish below.  Around the top of the shoulder Susan has incised  a water, rain and lightning design.  The body of the jar is matte and etched with various salmon.  Each is slipped green and they have various Santa Clara designs on their bodies.  The entire piece is traditionally fired and a great coloration!

Kaa Folwell is one of the exciting young potters working today. This jar has an asymmetrical shape around the rim. The coloration is achieved by polishing the top and bottom areas red and the center tan.  The area around the shoulder is fully incised with “graffiti” designs.  There is a striking flow of design and the various levels of design.  It is a beautiful balance of color, form and design.  We are excited to see more from this young potter!