Lisa Holt and Harlan Reano make an amazing team, working to create innovative pottery using traditional techniques.  Lisa makes the pottery and it is painted by Harlan.  This figure is amazing as it is hollow and all coil built.  The figure is basically two columns which twist up from the base and then extend out to the arms and up to the head.  The concept for these figures was from Harlan who wanted to create a series of “Pueblo Super Heroes”.  The body has a series of painted swirl and lightning designs.  The shape and movement are exceptional on this figure!   The materials are all traditional as the red and cream are both native clays while the black is wild spinach (a plant). The figure is traditionally fired outdoors.   It is signed on the bottom. 

This is a striking canteen by Robert Tenorio.  The jar is painted with wild spinach (black) and red and copper colored clay slips.  On the sides of the jar Robert has painted flowers and clouds.  The petals of the flowers are highlighted with various clay slips.  The handles of the canteen are in the shape of two birds.  Each bird is painted differently.  The canteen has a “spirit line” or a break in the painted line around the rim.  This goes back to historic Kewa pottery when the artist would use the spirit line to release their spirit or connection from the vessel.  The jar is signed on the bottom in the clay, “Robert Tenorio, Kewa”.

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This bowl is very highly polished and tightly painted.  Her works are typically three inches or smaller, which is classified as a miniature.  The design on this bowl is a water serpent (avanyu), which encircles the piece.  There are cloud designs above the avanyu.  It is signed on the bottom in the clay, “Annie”.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

Candelaria Suazo is a daughter of potters Joe and Santanita Suazo.  Her sisters include Martha Suazo (the wife of Art Cody Haungooah), Margie Naranjo, Mae Tapia and Shirley Duran.  She learned to make pottery from her mother and has been making pottery for over 20 years.  This miniature bowl is coil built and stone polished.  It is etched with a Yei figure and then two-toned to make it black and sienna in coloration.  Note the high polish and delicate etching on this piece.  It is signed on the bottom.

Adelle Nampeyo is known for her stylistic use of traditional Hopi designs.  This bowl has a migration pattern encircling the shoulder of the piece.  Note how she has used the lines for the migration pattern above the shoulder and the thinly painted lines.  Below the shoulder is a double band of black and red, representing the mesas.  The designs are painted with bee-weed (black) and a red clay.  The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world.  The jar is traditionally fired to create the coloration on the surface of the jar.  The coloration works beautifully with this piece with shades from white to orange.  It is signed on the bottom.

Martha Arquero (b. 1944) learned to make pottery from her mother, Damacia Cordero.  Her sisters, Josephine Arquero, and Maria Laweka, are also well known for their traditional pottery.  This is one of her smaller figures.  It is a classic style frog with a fly on its tongue.  Cochiti is located on the river, and so frogs are often seen in their figurative pottery.  The frog is signed on the bottom with wild-spinach on the clay.  It was traditionally fired and in excellent condition with no chips, cracks, restoration or repair.  

Tammy Garcia is known for her amazing pottery, as well as the creativity of her bronzes. This bronze is carved in the style she carves in her pottery, with various depths and layers.  It is entitled, “Green Moth”.  It has a Sikyatki inspired moth as the design in relief.  Behind the moth are some of her classic Pueblo geometric designs and a butterfly pattern around the edge as the “frame”.  The bronze is made to hang on a wall, although it can also stand (or sit in an easel).  The piece has a striking use of patinas to enhance the coloration of the moth’s wings and the butterflies in the frame.  The piece is signed on the side.  It is the 21/35 in the edition of the bronze.

Tammy Garcia is known for her amazing pottery, as well as the creativity of her bronzes. This bronze is carved in the style she carves in her pottery, with various depths and layers.  It is entitled, “Gold Moth”.  It has a Sikyatki inspired moth as the design in relief.  Behind the moth are some of her classic Pueblo geometric designs and a leaf pattern around the edge as the “frame”.  The bronze is made to hang on a wall, although it can also stand (or sit in an easel).  The piece has a striking use of patinas to enhance the coloration of the moth’s wings and the plants in the frame.  The piece is signed on the side.  It is the 19/35 in the edition of the bronze.

Titus Davis is the son of noted potter Darla Davis and a brother-in-law of Eric Lewis.  He creates hand-built pottery that combines the classic fine-line designs with a modern approach.  This is the first seedpot of his we have had in the gallery.  The piece is painted with a flower design on the top.  It is surrounded by traditional fine-line patterns which accentuate the design.  The shape and designs work perfectly together.  It is signed on the bottom.

This  jar by Samuel Manymules has a tall shape with a slight neck.  The melon ribs swirl down from the neck to the base.  The ribs are pushed out in the clay and there is a deep groove separating each rib.  The jar is traditionally fired and the coloration is striking!   The symmetry of each rib adds to the overall appearance of the jar.  The variation from black to red to brown give the piece a sense of motion on the surface.  The browner areas are where it was fired to a higher temperature.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

Kimberly Riley Honyumptewa is from Laguna Pueblo and married to Aaron Honyumptewa who is Hopi/Picuris. She learned to make pottery from her mother-in-law Caroline Simbolo Cine in the traditional Picuris style and using native clay from the area. Each piece is coil built and traditionally fired.  This wedding vase is a creative shape with the twisted handle and the organic flow of the spouts.  The vase has a darker coloration from the fire clouds but the mica shows through beautifully!  The vase is signed on the bottom.  Kimberly’s work continues to evolve in creating more dynamic Picuris pottery!

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  two separate pieces.  Anita has 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.

Rose Simpson is one of the exciting innovative potters working today.  She is a daughter of noted potter Roxanne Swentzell.  This piece brings together two strong aspects of her clay work. The geometric rectangular shapes create a stylized pueblo appearance. The small opening are much like doors and windows.  The shapes are clay and are all one piece and textured.  However, it is the clay work on her figure which is so dynamic.  Rose has found a creative way to create her figurative work, with overlapping slabs of clay.  The figures are realistic in form yet almost otherworldly or dream-like in their appearance. The various small slabs on the figure give an additional sense of movement as if the dancing figure is in motion.  It is excellent condition with no chips, cracks, restoration or repair.  Rose continues to expand her style in various museum exhibitions around the US and create new and more dynamic works in clay.  Look for her upcoming exhibition at the Wheelwright Museum in Santa Fe.

Mary Ester Archuleta is a daughter of noted potter Margaret Tafoya.  This water 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.   The tan is the natural color of the clay and always difficult to achieve this coloration.  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 very good 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.  While she no longer makes much pottery, her work is creative and distinctive in style and coloration.

Glendora Fragua is known for her polished and intricately incised pottery.  This water jar is larger in size for her work and it is polished with a red clay.  The entire surface is fully etched with four large dragonflies, flowers and additional designs.  The various designs are then highlighted with additional clay slips.  On the inside of the neck has also painted a flower pattern!  It is an intricate and complex jar with a striking combination fo designs, both painted and incised.  The jar is signed on the bottom with a corn stalk, Glendora’s hallmark.

Elizabeth Medina is known for traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  The designs on this jar harken back to early Zia pottery with the hatchwork, prayer feathers and circles.  There are two larger birds on the sides of the jar.  They are slipped with a tan clay.  Separating them are two smaller birds, also in tan.  Surrounding the smaller birds are cloud, rain and prayer feather designs.  The deeper red areas are both matte and polished.  The jar is complex with the variations of matte and polished surfaces.  The top of the lid is polished red while the turtle is added and slipped tan.  There is a polished and painted bird and flowers on the top.  The jar is signed on the side “Elizabeth Medina, Zia”.

Adam Speckled Rock is the son of noted potters Paul Speckled Rock and Rosemary Lonewolf.  He is a grandson of Joseph Lonewolf and a great-grandson of both Severa Tafoya and Camilio Tafoya.  This tall jar is fully polished below the shoulder and matte above.  The design is a series of bluebirds in the reeds.  The design is etched into the clay and additional clay colors are added to highlight the designs. The jar is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Kimberly Riley Honyumptewa is from Laguna Pueblo and married to Aaron Honyumptewa who is Hopi/Picuris. She learned to make pottery from her mother-in-law Caroline Simbolo Cine in the traditional Picuris style and using native clay from the area. Each piece is coil built and traditionally fired.  This is one of the largest pieces we have had of her pottery.  It is round near the base and the rim is fluted and sculpted.  The jar is an elegant shape and the firing is striking.  It sets off the black, gold and various hues of the micaceous clay.  The jar is signed on the bottom.  Will be exciting to see how Kimberly’s work continues to evolve in creating more Picuris pottery!

This storage jar is one of the classic shapes by Jason Ebelacker. He is a son of Richard Ebelacker and grandson of Virginia Ebelacker.  His father and grandmother were both known for their storage jar shapes, as well as his great-grandmother, Magaret Tafoya.  Jason creates a similar form with the high shoulder and the small neck. The distinctive shape gives the jar a feeling of size and width. The jar has two bear paws impressed into the clay and they are fully polished, as is the entire surface of the jar.  The bear paws are symbolic of a Santa Clara story where a bear led the Pueblo people to water during a drought.  This jar is as much historic as it is modern in appearance.  The jar is traditionally fired black.   Jason is certainly one of the younger potters to watch!

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  Many of her skills are ones that she learned from her father, Joseph Lonewolf. This seedpot has two Mimbres inspired parrots on the top of the piece. They are etched so the surface is both matte and polished. On the side is a hummingbird etched in the Pueblo style. It is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

This large jar by Samuel Manymules has a round shape which is accentuated by the vertical melon ribs.  The jar itself is coil built and slipped with a red clay and then traditionally fired.  The jar has a stone polished neck which comes to a sharp edge. Below the shoulder the melon ribs are pushed out in the clay and extend to the base of the jar.  The symmetry of each rib adds to the overall appearance of the jar.  It was traditionally fired outdoors and that has created the coloration on the surface.  The jar has areas which range from black to red and brown.  The browner areas are where it was fired to a higher temperature.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

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 plate was made by Preston Duwyenie and polished and incised by Debra Duwyenie.  The design on the front is fully polished and full of imagery. The design is a flowering plant which extends up from the vase.  Each of the flowers are etched into the clay and the center of each is matte, which is just where the polished slip has been etched away.  For nearly each flower is a hummingbird, each of which are also etched into the clay and with matte bellies.  There are 19 hummingbirds on the plate!  There are also additional butterflies and note near the top is a sunface and extending from the sun are rain and cloud designs.  The back of the plate is fully polished and signed with Debra’s name and Preston’s hallmark.

This bowl by Gloria Garcia is fully polished and fired black. The design is a series of eight turtles encircling the piece.  Each one has additional designs etched into their shell.  Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.

This is the first time Nathan Youngblood has created a double set of plates in the teardrop shape.  Has has made a similar style with the floating center medallion using round plates.  However, there is an increased level of difficulty in creating this concept with his signature teardrop form. The plate is made and then the “inner” teardrop plate is cut away.  Nathan then designs both of the plates so that they visually function as one unit. The inner plate has a lightning and rain design.  Note on the upper edge the deer track and the star.  “Deer Path” is his name in Tewa and so he will often use that imagery in his designs.  The outer plate has a rain and walking bear paw design around the base and above are clouds.  The rim of both pieces is polished tan, while the center is carved and polished red.  After the two pieces were fired, we had a stand made so that they would sit together. When looking straight on, it appears to be one piece.  When looking from the side, the inner plate extends forward.  The deep red clay slip on these plates is exceptional and contrasts perfectly with the tan areas.  While the shape, carving, and designing might seem like enough, Nathan also takes his pottery one step further. After it is fired, he uses small screwdrivers and scrapes the sides of the carved designs and the recessed areas, to create a visually striking contrast.  It is signed on the back in the clay with his name and deer tracks, which represent his name in Tewa.

This large jar by Al Qoyawayma is stunning in his use of numerous clay slips, various levels of carving and his own innovative shape.  Al says his inspiration for his polychrome pieces is to imagine how Hopi Sikyatki pottery might have evolved without western contact. This jar has two sharp shoulders and a central band which is fully carved.  The band is designed with corn, various birds, and prayer feather patterns.  Each is slipped and polished with various clays!  The top has a stylized version inspired by the Migration pattern.  Here there are two sections which are like the historic migration design and they spiral into a larger red parrot and a green eagle. The center of the jar (which is the lid), has a star pattern and then a spiral for the galaxy.  Note the various layers of carving along with all the different colors of clay.  The amount of time to design, carve and polish this jar is extraordinary!  There are over five different clay slips used on this piece!  This piece is a striking balance of form, sculpture, color, and design!  It is signed on the bottom in the clay.

This jar by Nathan Youngblood has a traditional storage jar shape.  The jar is carved around the center with a walking bear paw design along with a keyhole doorway design. As the jar is turned there are additional cloud designs.  The carved designs are large but striking in appearance. The top and bottom sections are fully polished to Nathan’s glass-like appearance.  Simple. Elegant.  The jar is signed on the bottom in the clay “Nathan Youngblood” and the hallmark of his name in Tewa.

Al Qoyawayma often creates vessels based on ancient forms.  This large jar is based on the Gila River forms which were wide and had a low, sharp shoulder.  On this jar, it is fully polished and Al has created a scene with figurative dancers which are pushed out from the inside in the clay. The jar has a procession of dancers encircling the piece.  Each is matte while the area around is polished. The last figure is a small boy and as the jar is turned, he is being chased by a jaguar!  The form and design are both humorous and charming on this piece.  It is signed on the bottom.

Autumn Borts-Medlock is known for her creative carved pottery.  As well, she has created some dynamic pieces in bronze over the past few years.  This bronze is entitled, “Pueblo Parrot”.  It is stylized in much like the thick-billed parrot, which was actually native to the New Mexico area in the past.  It also has a connection to the Ancestral Puebloan bird figures created at places such as Chaco Canyon.  The bird is carved with a feather pattern and on its back is a cloud and mountain design.  Autumn says she was inspired to create her parrots after a two-day excursion to Chaco Canyon. This piece is number 10 of 50. The colorful patinas give the piece a striking appearance.  It is signed and numbered on the bottom.

This is one of the larger pieces we have had by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This jar is carved on one side with a jar of a similar shape which has a carved design in the center!  The center carved pattern has a cloud, bird and lightning design.  It is a carved jar on a carved jar.  The sides are deeply carved and sanded smooth. The back of the jar is fully polished red.  It is a striking and interesting piece of her potter.  It is signed on the bottom in the clay, “Linda Cain”.

Stunning! Lois Gutierrez is one of the few potters who continues to create large storage jars.  Check out the size of this piece, as it is massive! As well, she is one of the only Pueblo potters who makes a true polychrome vessel (more than 3 clay colors).  This jar has five different natural clay colors utilized.  The neck of the jar has hummingbirds and flowers.  Each bird is separated by a cloud pattern.  Around the body of the jar are swirling birds and flowers.  Separating each of the birds is a rainbow (with 5 colors) and then a stalk of corn.  Each stalk is a different color representing the different directions (red, white, yellow and blue).  The bodies of each of the birds have a detailed cloud pattern in the center.  The jar is a beautiful combination of colors and traditional designs.  Few of her pieces have this level of complexity in the designs!  Lois’s ability to create such beautifully painted scenes with clay is remarkable in addition to her portrayal of a cultural legacy in design in clay.  It is signed on the bottom “Lois 2018”.  The last photo is one of the storage jar in the fire at Lois’s house at Santa Clara Pueblo…a very HUGE fire!!

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This bowl has four birds in a swirling or tumbling motion around the top of the piece.  They are painted with a deep red clay slip as well as the black which is painted with bee-weed (a plant).  The bowl has been traditionally fired so that there are blushes on the surface.  The piece is signed on the bottom in the clay.

Rebecca Lucario is known for her delicate and intricately painted pottery.  She uses traditional Acoma clay and paints with bee-weed (a plant) and clay slips.  Ever since one of her plates appeared on the cover the “Changing Hands” exhibition catalog, her work has become iconic with fine-line style painting.  This larger plate has a fineline center design.  This emanates out into the “petals” of the flower which are a series of diamond shaped patterns.  They are either filled in black, painted with fine-lines or painted with and outlined “x” design.  The design starts small but gets larger as it nears the rim. The rim of the jar is painted with a red clay slip.  The intricate design of the plate is certainly visually dynamic! It is signed on the back, “R. Lucario, Acoma, 2018”.

Nancy Youngblood creates stunning vessels which combine both matte and polished surfaces. This is an elegant vase with deeply carved sections where she has two different types of shells as the design.   The use of shells in her pottery is reminiscent of the shells worn by the Pueblo Dancers during various ceremonies.  Historically, there are lots of shells found in the Southwest, as they were highly valued and used for trade.  Note how the shells are rounded out like the ribs in her melon bowls!  The surrounding area is matte, which contrast perfectly with the high shine of her stone polished surfaces.  Note how even the matte areas are, as if they are not flat and even they create shadows.  The symmetry of the jar is perfection, with a narrow base and a wide shoulder.  The lid has carved and polished shells on each side and they are fully polished and each section is rounded out.  The lid also fits perfectly into the jar with a line to show exactly where to position it on the vessel.  The jar is from 2006 and it is in perfect condition.

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!

This is an exceptional large box by Nancy Youngblood.  It is not often that she makes boxes and this particular piece combines many different techniques used in her pottery.  The box is an elegant shape with a length, width and height proportionality that works for the size. The sides of the box have shells on them, and not how each ridge of the shell is rounded out like her straight melon ribs! The ends of the box have circular shells. The use of shells reflects the shells used on traditional dancers at the Pueblo and that they have been used culturally for centuries.  The top of the box has a carved and polished avanyu encircling the handle, which is a double sided shell.  One visually dynamic aspect of the box is the how she has sanded the matte areas so that they are so smooth. It is a critical part of pieces as any uneven surface is revealed in the light as a small shadow!  The polished surfaces just glow with the reflection of the light.   Consider that each shell edge or swirling shell has two “sides”to be polished and the surface area of the piece is about double its size!  This box is from 2008 and came originally from Nancy to the gallery and now it has come back to us.  It is in perfect condition with no chips, cracks, restoration or repair.   Nancy has won numerous awards for her melon bowls and this is undoubtedly a classic and important piece of her pottery.

Jody Folwell is known for her creative pottery shapes and designs.  This is a very tall jar and the rim has an asymmetrical form, for which she is known. The jar is polished with a slip which fired a greenish-brown. There are lightning patterns across the surface which are a matte red.  Around the entire jar are a series of etched wolves and buffalo.  Some are etched and some are just painted with a white clay slip.  They are in different directions and different degrees of motion.  The size and coloration with the green, red and white is striking.  The jar is signed on the bottom, “Jody”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is an intricately painted seedpot by Robert Kasero.  It is very thin walled and painted with an “op-art” style of rain design.  The design is small at the top and then enlarges at the shoulder and small again at the base.  It is dynamic in the flow of the tightly painted designs.  The design is a swirling cloud and rain motif.  Note how the base of the seedpot is also indented keeping in the style of historic Laguna pottery.  It is signed on the bottom.

Cliff Roller is a son of noted potter Toni Roller. Each piece is coil built and stone polished.  This bowl is carved four bear paws as the designs. The bear paws are symbolic of a Pueblo story where the bear leads the people to water during a drought.  Here the bear paws are each deeply carved into the clay and polished. The remainder of the bowl is fully polished to a very high shine.  It is signed on the bottom in the clay, “Cliff Roller”.  This bowl is in excellent condition with no chips, cracks, restoration or repair.  While these days Cliff makes very little pottery, his work remains a statement to his skill as a potter!

Lorenzo Spencer is one of the few Navajo males potters.  He learned to make pottery from his mother-in-law, Rose Williams.  This bowl is coil built and stone polished.  The design of a bird is etched into the clay. Notice the precision of the design and there is a wonderful texture to the stippled area around the birds.  The bowl itself has a square opening and it has been traditionally fired.  After the firing it was covered in pine pitch, in the manner of historic Navajo pottery.  The bowl is signed on the bottom in the clay, “LS”.

This  bowl by Effie Garcia is deeply carved and highly polished.  It has a rain, lighting and mesa design which is carved into the clay. The design is then outlined with a clay slip and the remainder of the bowl is highly polished.  It is fired a deep black.  The high polish and angle from the shoulder make her work distinctive. It is signed on the bottom in the clay.

This is a charming bowl by Anderson Peynetsa. It is made using the red clay and  the bowl is in the shape of a turtle on its back.  The sides of the piece are fully painted and there is a swirling rainbird design.  Anderson has signed the bowl on the bottom.  Yes, definitely charming.

This jar by Grace Medicine Flower is fully polished and incised.  The jar has high sides and a short neck. There is a large leaping deer on one side. On the opposite side are two fawns and flowers.  Grace has incorporated additional Pueblo cloud, rain and feather designs.  The jar is from the 1990’s and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Grace Medicine Flower”.

This taller jar by Alice Cling has an elongated shape with a longer neck.  The jar has been vertically polished so you can see the stone marks in the polished surface.  The jar is then traditionally fired to create the coloration.  Note how the fireclouds swirl around the jar creating areas of dark black to deep red.  The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

Jarrod Da has created a distinctive style of painting using pastels for his work. Each piece is hand painted and it is amazing how much detail he is able to achieve in each piece!  His new work is a blend of contemporary themes with San Ildefonso and Pueblo imagery.  This piece is entitled, “Nambe Butterfly”.  Jarrod says of this painting:

“This piece was made after a trip to Nambe falls in northern New Mexico. The design work is influenced from San Ildefonso Pueblo Pottery design along with influences from Deco design. You can see this Deco influence within design elements like the rainbow in the center of the piece with its gradating small circle pattern varying in many colors. The various colors of the circles represents spray coming from the falls and shows that water is not clear but has a whole spectrum of color when light hits it. Traditional Pueblo design is represented through the staircase and kiva designs along with the flower motif in each of the butterfly’s wing is indicative of pottery design.   The butterfly represents the fragility of our eco system and its mission to recreate time and time again.”

The painting is subtle in color but complex in design.  It comes in a black frame and matted. It is signed, “DA 17”.  The photo shows the painting unframed and matted. The second photo is the painting framed on the wall for scale.

This large clay Big Horn Sheep is made out of clay by Cavan Gonzales.  Cavan is a descendant of Maria Martinez and the son of Barbara Gonzales.  This piece is polished on the front and then mica slipped on the back.  It has been fired black.  The use of the Big Horn Sheep is a symbolic representation of one’s own self worth.  There are inset bands of hei-shi in turquoise and shell.  It is a striking contrast of matte and polished surfaces.  It is signed on the bottom in the clay.

Daryl Whitegeese is known for his use of classic Santa Clara forms and his amazing polished surfaces.  This jar is is a classic water jar with a around shoulder and an elongated neck. The jar is carved around the shoulder with series of designs which represent the clouds, mountains, rain and wind.  It is a striking use of imagery which depicts seasonal changes at the Pueblos.  The jar is very deeply carved and the edges almost feel sharp to the touch! The jar is polished a deep red and has been traditionally fired.  Note as well the rim of the jar, which almost seems to have a sharp edge, which is difficult to achieve with stone polishing the surface.  The jar is signed on the bottom in the clay.  Daryl Whitegeese remains one of the exciting potter to revive traditional designs and shapes working today at Santa Clara Pueblo.

Autumn Borts-Medlock is known for her creative carved pottery.  As well, she has created some dynamic pieces in bronze over the past few years.  This bronze is entitled, “Raincloud Dragonfly”.  It is made in the style of her clay tiles.  The imagery is deeply carved into the clay before it is turned into a bronze.  This piece has a dragonfly in the center and it is surrounded by cloud patterns. The representation is both to the importance of water as well as the dragonfly being seen a prayer messenger.  The dragonfly on this piece has a red patina and there are blue for the water.  The piece is number 10 of 65 on the side.   It is signed and numbered on the bottom.  The bronze is mounted and framed.

This is a tightly carved miniature jar by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This miniature jar is deeply carved with eight feathers.  The area behind the feathers is slipped with a micaceous clay. The feathers and the jar are all stone polished.  It is fired a deep black and signed on the bottom in the clay.

Autumn Borts-Medlock is known for her often fanciful carved pottery. This bowl is carved with two fish as the central design.  Separating the two fish is a clam shell. The fish are polished red while the clam is tan polished and there is a micaceous mauve colored clay.  The top has little round carved circles which are the “air bubbles” and there are also white areas which are the movement of waves.  The piece is a striking use of carving and clay colorations to create a complex design.  The seedpot is from 2002 and it is in excellent condition with no chips, cracks, restoration or repair.

It is not often that Linda Tafoya-Sanchez creates redware pieces in the more classic San Juan style.  This bowl is carved with four medallions, one on each side. The medallions are a rising sun, a butterfly, rain clouds and a corn plant.  Each of these is a classic design depicting growth or prosperity.  What is fascinating on this bowl is the surrounding complex carved designs.  They are inspired by San Juan incised imagery and add to the complexity of the carving. These patterns are also either polished or slipped with mica!  The intention here is to have a variety of surface textures and styles to reflect the light and enhance the designs.  Linda began using the mica years ago when she was given some by a relative at San Juan.   The bowl is signed on the bottom, “Linda Tafoya-Sanchez”.

Marcellus Medina is known for his painting on traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  This small jar was made and painted by Marcellus Medina.  There are two very classic Zia birds on either side.  Each bird is painted with additional clay slips.  Separating the two birds are cloud and rain designs.  The bowl is traditionally fired and it is signed on the bottom, “M. Medina”.

Val Kahe is a daughter of noted potter Gloria Kahe.  She is known for her intricately painted pottery.  This is one of her more complex designed seedpots. The top half has a series of pottery shards, which are inter-connected.  Most are painted with bee-weed (black) while some are polished a deep red and then painted with the black bee-weed.  Each of the red shards is a different bird or moth or flower or mosquito!  Check out the very fine lines used in her painting!  The seedpot has then been traditionally fired to create the fire clouds.  It is signed on the bottom.

It is not often that Nancy Youngblood finishes a box as complicated or as intricate as this piece!  Boxes are inherently difficult to make with chances that they will crack in the drying or firing stages.  As well, making a box at this size is even more difficult. The result, however, is spectacular. This box has four horses, one on each side.  Nancy won a  “Best of Show” award for one of her first large vessels with a horse on it a few years ago.  For this box, she has taken the horse concept and extrapolated it out onto the entire surface. Each horse is carved in a running position with tails and manes flying.  The muscles are rounded out giving each horse a more defined appearance.  Above each horse is a cloud and raindrops are also carved into the clay. It is the lid which actually ties this piece together.  The top is fully carved with melon ribs which create the “clouds” swirling above the horses. The ribs of the clouds connect to the clouds above the horses, adding another dimension to the box.  Finally, the surface has been polished with Nancy’s trademark high shine.  Using a stone, she polishes the surface to a glassy appearance.  Simply.  Stunning.  The interior and rim of the box are slipped with mica, which is a subtle addition to the piece.  It is signed on the bottom in the clay.  The final photo is of Nancy holding the box, just to give a sense of how big it really is!

Jody Folwell is known for her creative pottery shapes and designs.  This is a classic style for her pottery with a fully polished surface and the asymmetrical mouth.  The rim of the mouth extends down to the shoulder and it is fully polished. The designs are etched into the surface of the clay and various etching techniques are used to create the coloration.  The corn plant pattern is the main imagery and it is surrounded by cloud, rain and Pueblo designs.  The various colorations from black to dark red are all from the traditional outdoor firing.  The bowl is signed on the bottom in the clay, “Jody”.

Arthur Lopez is one of the leading santos carvers in New Mexico.  After the piece is carved, is covered in gesso (a glue made from rabbit hide) which is allowed to dry and then sanded.  It is painted with both natural and watercolor pigment.  Natural colored pigments, such as the brown, are derived from black walnut hulls.   These are the time involved and historic foundations for his work.  This piece is entitled, “Maria-Posa”.   It is a fun play on  the Spanish words for Mary and Butterfly.  Arthur says of this piece:

“It is a piece is about hope that links several old and recognized symbols of the Mexican people. The monarch butterfly leaves Mexico in the spring, migrates to North America and returns to Mexico in the winter, in a near-miraculous cycle that each year spans the lives of several generations of monarchs that normally live less than two months. Guadalupe, the sacred mother Mary who appeared to San Juan Diego in 1531, is the patron saint of the Americas. The piece represents the potential for transformation in all of us and serves as a symbol of our past, our faith and the hope for rebirth in a better future.”

Arthur’s work is found in numerous museum and public collections, including Albuquerque Museum of Art & History,  Denver Art Museum,  Freedom Museum (911 Memorial at Ground Zero), Harwood Museum of Art, Museum of International Folk Art,  Museum of Spanish Colonial Art, and the State of New Mexico Permanent Art Collection.

Arthur Lopez is one of the leading santos carvers in New Mexico.  After the piece is carved, is covered in gesso (a glue made from rabbit hide) which is allowed to dry and then sanded.  It is painted with both natural and watercolor pigment.  Natural colored pigments, such as the brown, are derived from black walnut hulls.   These are the time involved and historic foundations for his work.  This piece is entitled, “Alma de Maria”.   Arthur says of this piece:

“Alma de Maria”  is an allegorical variant of the Immaculate Conception, it represents the descent of the Holy Spirit (Dove) upon Mary and the Announcement of the Incarnation. She wears a crown of roses to symbolize her purity and exemption from the sins of the world. The baby birds in a nest made in the form of a crown of thorns represent innocence at birth and Jesus death for our sins. “If you come across a bird’s nest in any tree or on the ground, with young ones or eggs and the mother sitting on the young or on the eggs, you shall not take the mother with the young. You shall let the mother go, but the young you may take for yourself, that it may go well with you, and that you may live long. – Deuteronomy 22:6-7″

Arthur’s work is found in numerous museum and public collections, including Albuquerque Museum of Art & History,  Denver Art Museum,  Freedom Museum (911 Memorial at Ground Zero), Harwood Museum of Art, Museum of International Folk Art,  Museum of Spanish Colonial Art, and the State of New Mexico Permanent Art Collection.

Thomas Natseway is one of the most renown miniaturists in Pueblo pottery.  Rarely does he make a piece which is over 1″ tall or wide!  This is an early piece of his pottery from 1981.  It is painted with a classic Laguna Pueblo design with the checkerboard and fine-line patterns.  There are additional rain clouds around the rim and the base.  The jar is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Susan Folwell (Santa Clara )and Les Namingha (Hopi-Tewa/Zuni) collaborated together for the first time on a series of vessels in a show entitled “Corn:Maiden:Cultures” in 2015. The concept for the exhibition was that the Corn Maiden in Pueblo culture can also be found as a primal female archetype in cultures throughout the world.  There is play back and forth on these vessels as the multi-cultural figures are placed within a Pueblo context as the “Corn Maiden”, who brings the corn, the harvest and life.  This jar has been in an exhibit at the Museum of Indian Art and Culture since 2016.

This large jar was made by Les.  The designs painted by Susan on two sides show a Hopi maiden and a Pueblo maiden.  Her idea was to leave the faces empty, so that they did not represent just one person, but all women.  The two women represent the Pueblo and Hopi ancestry of Les and Susan. Playing from Susan’s more realistic portrayals, Les painted a more modern version of the women on the other two sides.  The angular shape of this vessel, made from Zuni clay, is unusual but also perfect for this important imagery.  In many ways, this powerful jar brings together the ideas of womanhood, femininity, modernism and the continuing importance of the Corn Maiden concept in Pueblo culture.  The dark brown background works perfectly for this intense jar.  Check out more of their exceptional collaborative pottery in the book, “Spoken Through Clay”.

This jar by Ian Peynetsa is from 1994.  It is a more classic style of Zuni design with the Zuni rainbirds and the fine-line rain deigns.  It is an interesting combination of these classic designs with the vertically polished white slip to enhance the designs.  The jar won a 2nd place at the 1994 Zuni High School Art show. It is signed, “Ian Peynetsa”.  While he no longer makes pottery, it is a striking example of creative student art!  It is in excellent condition with no chips, cracks, restoration or repair.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  She learned to make pottery from her father, Joseph Lonewolf. This seedpot has a realistic style of butterfly on the top.  The butterfly is surrounded by flowers. There are various levels of etching on the piece, including some wonderful areas which are just tan.  The polishing has created a high shine.  The seepot is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

Cliff Roller is a son of noted potter Toni Roller. Each piece is coil built and stone polished.  This jar has a round body and an elongated square neck. The designs are carved into the negative space of the jar.  Around the neck are a tablita and wind pattern.  Around the sides are rain and kiva bowl patterns.  The jar is deeply carved and highly polished.  It is signed on the bottom in the clay, “Cliff Roller”.  This bowl is in excellent condition with no chips, cracks, restoration or repair.  While these days Cliff makes very little pottery, his work remains a statement to his skill as a potter!

Lisa Holt and Harlan Reano make an amazing team, working to create innovative pottery using traditional techniques.  Lisa makes the pottery and it is painted by Harlan.  This figure is a dragon/dog.  It creatively combines both a pueblo and Asian influence.  The dragon is hollow and the body has a spiraling appearance.  The body is complex and the various spines add an exceptional sense of depth to this piece!  The turned head is just perfect!  The body is painted with bee-weed (black) and a red clay slip. On the back legs is a wild spinach design.  On the sides is a flower pattern. The back and legs has a mosaic lightning pattern which Harlan often uses on his pottery.  The small clay tabs which are added are the natural color of the clay, adding another dimension to the piece.  The materials are all traditional as the red and cream are both native clays while the black is wild spinach (a plant). This figure was also traditionally fired outdoors.  It is signed on the bottom.

This is an exceptional miniature seedpot by Rosemary Lonewolf!  It is fully designed with three birds and a band of flowers around the shoulder.  Spiraling around the top of the seedpot is a feather design and there is a small flower on the very top! Rosemary has added additional white and blue colorations for the clay on this piece.  The various colors are all derived from natural clay slips.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

Kaa Folwell is one of the exciting young potters working today.  In 2018 she is graduating from IAIA, which certainly adds an educational component to a lifetime of making pottery in her renowned family.  This large bowl has a wide shoulder and a slight neck.  The outside of the bowl is etched and then painted. The designs are graffiti style clouds and lightning.  The spiral and flow around the surface of the bowl.  The contrast of the painted surfaces with the texture of the clay body works perfectly for both the feel and the visual.  In various places around the designs are the Folwell family “x” design.  Not only is the bowl painted and etched, but the entire interior is fully painted as well.  The strength of the exterior design continues on the interior.  It is a beautiful balance of color, form, and design.  The bowl is signed on the bottom.  We are excited to see more from this young potter!

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!

This miniature red jar by Grace Medicine Flower is fully polished and incised.  The design is a central medallion with a Mimbres inspired flute player.  Around the shoulder are alternating turtles and frogs.  The jar is from 1998 and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Grace Medicine Flower”.

Hubert Candelario is one of the few potters from San Felipe Pueblo.  He has been known for his micaceous pottery for over thirty years.  This is one of the larger and most creative pieces we have had from him.  This distinctive jar has four dragonflies carved into the clay in the open space.   Each dragonfly is made up of oval and circular shapes.  Dragonflies are often represented as prayer messengers.  The dragonflies here are surrounded by circular holes in various sizes.  Belive it or not, there are almost 100 other holes carving ino the piece!  WOW!  It is a wonderfully complex piece he has created!  The piece is slipped 3 to 4 times with a micaceous clay before they are fired.  It is the multiple layers of mica which give the jar such sparkle and deep coloration.  This is a new piece is from 2018 and an exciting variation on his style and designs. 

Diego Romero was one of the potters around 1990 to break away from more classic  styles of Pueblo pottery. He returned to a pre-contact style of Mimbres culture (1100’s in southwest New Mexico) and was inspired by the open bowl shape. This has been his “canvas” throughout most of his career.  However, he has also created a few vessels over time, which are also based on ancient shapes. This jar has a classic Chaco period form with the round body and elongated neck. The design here is derived from his Chongo character, who populates much of the iconography of his pottery.  Here, Chongo is out at night among giant Chongo heads, much like at Easter Island.  Here Chongo is standing among them with coyote in the background.  Note the stars at night, and maybe even a UFO!?   It is signed on the bottom, “Chongo Made Me, Chongo Painted Me”.  The bowl is in perfect condition with no chips, cracks, restoration or repair.  The jar has a round base, so we had a metal museum mount made for it to sit on, which gives it a very modern appearance!

Click here to read more about Diego’s Imagery!

Click here to read more about Diego’s Imagery!

Adam Speckled Rock is the son of noted potters Paul Speckled Rock and Rosemary Lonewolf.  He is a grandson of Joseph Lonewolf and a great-grandson of both Severa Tafoya and Camilio Tafoya.  This open bowl is fully polished on the outside.  It is designed like a “kiva bowl” with the step patterns. In each of the step designs is an etched pine tree.  There is also an etched turtle with a sun design on its back.  The bowl is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

This stirrup jar by Al Qoyawayma is inspired by historic pieces with a similar handle and wide body. The jar has two spouts and he has carved on both sides of the piece.  The design on one side is a wave pattern, while the other has a prayer feather pattern.   The carved areas are also polished, which is striking with this carving of some of the sections!  The ends are carved with a figure and a sun design.  The colors are derived from various clay slips.  The contrast of carved, polished and matte surfaces works beautifully on this piece.  The various layers of carving allow for him to give additional depth to the piece.

This jar is an unusual shape for Al Qoyawayma.  The jar has a base which then extends out to the body of the piece. The entire piece is fully polished tan with one carved area of design. The image is the “mosquito man”, which is seen on Kiva Murals and pre-historic pottery throughout the Southwest.  Note the various levels of carving on this piece from the face of the figure all the way to the stars in the sky. All the various colorations are natural clay slips which are matte and polished.  The lid is another unique shape, which seems to replicate the overall shape of the jar.  It is a stunning piece with simplicity in form but complexity in the design.  The last photo is of the “Mosquito Man” mural at Pottery Mound, NM.

Dolores Curran creates 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 plate is exceptionally intricate in design.  The front has a water serpent etched around the rim.  The center is a complex square pattern which has four plants on each side.  Note both the precision of the incised designs but also how she used clay slips in the incised area to help accentuate the imagery!  The rim is fully polished red and the back is equally as complex with dragonflies, stylized birds, and flowers.  Again it is deeply incised, which is surprising for all the work that is also on the front!  There are both matte and micaceous clays used throughout. The mica adds a bit of “sparkle” to the designs.  The plate may be small but it is amazingly complex in design and color for its size!

Monica Romero is a daughter of noted potter Geri Naranjo, a sister of Kevin Naranjo and a niece of Dolores Curran.  She is known for her very detailed miniature pottery.  This bowl is highly polished and etched on one side with a fish. That area has been two-toned sienna.  The remainder of the bowl is designed with feather and lightning patterns. It is very highly polished and note the precision of the lines!  It is signed on the bottom.

Irene Tse-Pe is a daughter of Dora Tse-Pe and Tse-Pe Gonzales and a granddaughter of Rose Gonzales.  This jar is coil built and carved with cloud pattern around the neck. The carving is in the cameo style made famous by Rose. The jar is slipped with mica to the surface which gives it a bit of a sparkle in the light!  The piece is signed on the bottom in the clay, “Irene Tse-Pe”.  It is in excellent condition with no chips, cracks, restoration or repair.  While Irene no longer makes pottery, it is certainly a striking piece of her creative pottery!