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Laguna PotteryLaguna Pottery

Laguna Pottery of Laguna Pueblo, English Pronunciation: "Lah-goon-ah " Traditional Name: Ka'waika. It is the largest Keresan speaking Pueblo, with around eight thousand members. They prize thinking above all human attributes, consequently they value intellectual activity and education. A scholarship program is conducted by the Pueblo, thus insuring advanced study for many of the young people, making them among the best educated of all Pueblos. Laguna Pueblo comprises six major villages, Laguna, Paguate, Encinal, Mesita, Seama, Paraje, scattered over many acres with the political center at Laguna. In the 1970's, the traditional craft of pottery making was re-established. Fine work in red, yellow and orange geometric designs, similar to Acoma work, was created by a number of artists. Painters and jewelry makers have begun to work again in the ancient crafts, but they are bringing a modern note in the innovative designs and techniques which set their work apart from many other Indian craftsmen. The feast of St. Joseph, celebrated on March 19th and on September 19th.

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Sarracino, Myron – Tularosa Swirl and Lightning Jar

Myron Sarracino is one of the few Laguna potters working today.  He learned to make pottery from Gladys Paquin and creates pieces which are thin-walled and tightly painted. This jar has a high shoulder and a more classic “olla” shape.  It is painted black-on-white. The large circles are inspired by the ancient Tularosa pottery, which often used this design.  Myron has added to it with his fine-line painting.  There is a geometric series of clouds and rain near the neck of the jar.  Note on the rim that there is a  painted “spirit line”, which is where the “spirit” of the painter is able to leave the piece and it is also a tribute to the potters who came before.  It is seen on much older Acoma and Laguna pottery.  The jar is signed on the bottom.

$ 375.00
Lucas, Yvonne – Mini Jar with Butterfly Design

Yvonne Lucas learned to make pottery from her husband, Steve Lucas and his aunt, Dextra Qutoskuyva.  She is one of the few Laguna potters who uses all traditional materials and traditionally fires their pottery.  Theis an early piece of her pottery and smaller in size.  The jar has thin walls and a short neck. Around the shoulder, it is painted with a series of interlocking butterflies.  They are white, black, and fine-line. The jar was traditionally fired so there is just a slight blush to the coloration.  It is signed on the bottom in the clay, “Y. Analla Lucas”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 225.00
Allison, Marla – “Clouds and Flowers” Original Acrylic, Gold Leaf, Silver Leaf

Marla Allison is a from Laguna Pueblo in New Mexico. She lives and makes art from her home studio where she finds inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

This new painting incorporates gold and silver leaf along with the acrylic.  The piece is entitled, “Clouds and Flowers“.  Marla says of this painting:

“As the morning sun lights the day with golden rays, movement of awakening starts to twitch each resting life anew, so is the need for each other.  As the flowers need the sun and the clouds start to lift in new light, a breath of another grateful morning starts again.  This is the moment of gratitude for another day.”

All of Marla’s paintings have a “gallery wrap” so the painting continues onto the side so that framing is not necessary.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

Allison began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.  She was also the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

$ 1,250.00
Allison, Marla – “The Sketchbook” Original Acrylic, Gold Leaf, Silver Leaf

Marla Allison is a from Laguna Pueblo in New Mexico. She lives and makes art from her home studio where she finds inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

This new painting incorporates gold and silver leaf along with the acrylic.  The piece is entitled, “The Sketchbook“.  Marla says of this painting:

“I am a dreamer.  Perhaps we all are dreamers.  This is not particularly myself, but in my imaginary kingdom, perhaps it is who I want to be.  Surrounded by vivid colors and ornamented with elaborate clothes and jewelry is a pretty thought.  As a reality, we can’t all dress like this nor feel like this all the time, but it is a nice thought.  A dreamer’s vision.”

All of Marla’s paintings have a “gallery wrap” so the painting continues onto the side so that framing is not necessary.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

Allison began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.  She was also the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

$ 4,450.00
Allison, Marla – “Through Her Hair” Original Acrylic, Gold Leaf, Silver Leaf

Marla Allison is a from Laguna Pueblo in New Mexico. She lives and makes art from her home studio where she finds inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

This new painting incorporates gold and silver leaf along with the acrylic.  The piece is entitled, “Through Her Hair“.  Marla says of this painting:

“With this painting image, I wanted to think of a person as one of the earth, of the clay and inspired by all the living things of nature.  It just happened to be a female I chose that could give the essence of an earthly creature with all of life flowing from her hair.  This image is representational of a potter, Mother Nature, and the sun all at once or separately depending on the time of day. The light shining or reflecting off will tell you what to focus on in correlation to the sun and metallic reflections.”

All of Marla’s paintings have a “gallery wrap” so the painting continues onto the side so that framing is not necessary.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

Allison began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.  She was also the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

$ 2,300.00
Allison, Marla – “Dragonfly and Moonlight” Original Acrylic, Gold Leaf, Silver Leaf

Marla Allison is a from Laguna Pueblo in New Mexico. She lives and makes art from her home studio where she finds inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

This new painting incorporates gold and silver leaf along with the acrylic.  The piece is entitled, “Dragonfly and Moonlight“.  Marla says of this painting:

“Dragonflies are so soft to the touch you might not even know they have even landed on you until you feel the wind tugging at it’s wings and the small feet tightening on to your skin.  This painting is that feeling of special contact and warming you throughout making you hold your breath so not to loose the moment and hope time stands still for the moment to last.”

All of Marla’s paintings have a “gallery wrap” so the painting continues onto the side so that framing is not necessary.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

Allison began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.  She was also the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

$ 2,300.00
Allison, Marla – “Gifts to Remember” Original Acrylic, Gold Leaf, Silver Leaf

Marla Allison is a from Laguna Pueblo in New Mexico. She lives and makes art from her home studio where she finds inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

This painting incorporate gold and silver leaf along with the acrylic.  The piece is entitled, “Gifts to Remember“.  Marla says of this painting:

“We all have that special keepsake whether ephemeral or permanent to hold forever.  The moment of knowing such a gift is given is what you want to breathe in, to hold on to, see in blinding light so it burns it’s memory in your brain to never forget that perfect moment.  I wanted this painting to be my feeling of happiness and symbolized with a bluebird for beauty and a white flower for purity.  This is a feeling I have felt before and what I wanted to last forever if at least on canvas.”

All of Marla’s paintings have a “gallery wrap” so the painting continues onto the side so that framing is not necessary.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

Allison began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.  She was also the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

$ 4,600.00
Allison, Marla – “Stars & Clouds” Original Acrylic, Gold Leaf, Silver Leaf

Marla Allison is a from Laguna Pueblo in New Mexico. She lives and makes art from her home studio where she finds inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

This new painting incorporates gold and silver leaf along with the acrylic.  The piece is entitled, “Stars & Clouds”.  Marla says of this painting:

“Oh, the ever brightening stars, how I yearn for more to guide my path.  With every twinkle to brighten my eyes I wait for the night when everything is calm and restful.  If only the clouds would sway clear so my full sight could see the full brilliance that has long been awaited for.  Let these stars and clouds become one and shine together in soft moonlight.”

All of Marla’s paintings have a “gallery wrap” so the painting continues onto the side so that framing is not necessary.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

Allison began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.  She was also the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

$ 1,250.00
Sarracino, Myron – Lightning Design Jar

Myron Sarracino is one of the few Laguna potters working today.  He learned to make pottery from Gladys Paquin and creates pieces which are thin-walled and tightly painted. This jar has a high shoulder and a more classic “olla” shape. Around the top and bottom of the jar are classic lightning designs in black and white.  ARound the center is a larger lightning pattern in red with additional rain and cloud motifs.  Note on the rim that there is a  painted “spirit line”, which is where the “spirit” of the painter is able to leave the piece and it is also a tribute to the potters who came before.  It is seen on much older Acoma and Laguna pottery.  The jar is signed on the bottom.

$ 375.00
Sarracino, Myron – Rain and Plant Design Jar

Myron Sarracino is one of the few Laguna potters working today.  He learned to make pottery from Gladys Paquin and creates pieces which are thin-walled and tightly painted. This jar has a high shoulder and a more classic “olla” shape. The design has a “T” shaped could pattern painted with a red clay slip.  It is above the terraced mesa design.  Below the mesa design is a spiraling water pattern.  It has a series of fine-lines painted into the clay.  Near the base are plant designs, which are often seen on classic Laguna pottery.  The jar is a nice balance of form and design.  Note on the rim that there is a  painted “spirit line”, which is where the “spirit” of the painter is able to leave the piece and it is also a tribute to the potters who came before.  It is seen on much older Acoma and Laguna pottery.  The jar is signed on the bottom.

$ 325.00
Early, Max – “Eagles in Flight” Jar

Max Early is one of the few traditional potters working today at Laguna Pueblo.  His work combines traditional forms with a blend of contemporary and traditional designs.  This jar is a traditional shape with a high shoulder and elongated neck. The jar has a rain pattern around the neck and a cloud design around the shoulder.  Max noted that these were “older, minimal Laguna designs”.  However, as with much of his work, the bottom area is where he created is own additional designs.  Here he said he had painted four eagles in flight over the four directional mountains.  It is beautiful imagery which complements the simplicity of the designs above. 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!  The jar is signed on the bottom and includes a copy of his book, “Ears of Corn: Listen”.

$ 2,000.00
Lucas, Yvonne – Jar with Leaf Designs

Yvonne Lucas learned to make pottery from her husband, Steve Lucas and his aunt, Dextra Qutoskuyva.  She is one of the few Laguna potters who use all traditional materials and traditionally fires their pottery.  The jar is slipped with a white clay and then painted with a red clay slip and bee-weed (for the black). The design has a leaf pattern around the neck and in the central diamond-shaped medallions.  Separating the medallions are rainbow bands which are polished red.  The designs are a striking flow of round and linear patterns.  The contrast of the red and black on the white works perfectly for this size.  The jar is traditionally fired outdoors, so there are blushes on the surface creating the slightly tan areas.  The jar is thin-walled and perfectly shaped.  Yvonne focuses on the black-on-red coloration, as that was a style seen at Laguna Pueblo around 1900.  This is Yvonne’s way of paying tribute to these pieces but also giving it her own modern style.  The jar is signed on the bottom in the clay.

$ 4,000.00
Honyumptewa, Kimberly Riley – Picuris Micaceous Wedding Vase

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!

$ 150.00
Honyumptewa, Kimberly Riley – Tall Picuris Micaceous Jar with Fluted Rim

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!

$ 400.00
Kasero, Sr., Robert – Seedpot with Swirling Rain Design

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.

$ 550.00
Natseway, Thomas – Mini Laguna Jar

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.

$ 150.00
Early, Max – Jar with Rain & Plant Designs

Max Early is one of the few traditional potters working today at Laguna Pueblo.  His work combines traditional forms with a blend of contemporary and traditional designs.  Max said that this jar was his own variation on classic Laguna designs. The neck has a linear rain pattern.  Around the shoulder are plant designs in classic Laguna style.  The jar is a beautiful shape with a slightly elongated neck and a rounded base. 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!

$ 1,800.00
Analla, Calvin – Large Water Jar with Plant Designs

Calvin Analla learned to  make pottery from his sister, Yvonne Lucas and her husband, Steve Lucas.  This large water jar is thin walled and made with the traditional red clay from Laguna Pueblo. The jar is painted with bee-weed, into which he has mixed some mica.  The mica makes reflections in the clay.  Calvin is known for his very delicately painted designs.  This jar has cloud designs above the shoulder and plant designs below.  The thin lines painted with the bee-weed show create a striking contrast with the red clay.  It is signed on the bottom.

$ 1,100.00
Early, Max – “Ears of Corn: Listen” Book of Poetry

Congratulations to Max Early for the publication of his first book of poetry.  Max is a well known potter but also quickly become as famous for his poetry!

We currently have signed copies in the gallery!

“In Ears of Com: Listen, Native American potter and poet Max Early gracefully details both the everyday and the extraordinary moments of family and community life, work and art, sadness and celebration at the Laguna Pueblo of New Mexico.With in the four seasons-Ty’ee-Tro, Kushra-Tyee,Heyya-Ts’ee, and Kooka—the beauty of Early’s writing beckons the reader to accompany him on the journey between ancient and modern times.Including an historical Preface by the author,an Introduction by Simon J. Ortiz, and photographs of Early’s family and award-winning art, this debut poetry book is profound in its welcome and its teachings.

 ‘Early’s poems take us into the cultural continuum of a contemporary Laguna Pueblo artist. Each poem is pottery of words, complete with designs to bring rain, to remember and praise the earth and sky path we humans travel. Early’s poems are earthy, real and compelling. I keep hearing them, like songs emerging from the creative earth.”

-Joy Harjo, “Crazy Brave”, Mvskoke poet and musician

________________

‘We are thankful for these poems that cup us through the seasons,past the drought f a spiritual slumber. Like a weathered olla recalling the hold of cold water,we are replenished and bathed anew.We should heed our want and need to the bounty of their beauty and submit ourselves to the lessons therein. Shhh…the poems are speaking:Listen!”

-Levi Romero, “A Poetry of Remembrance and In the Gathering of Silence”, New Mexico Centennial Poet

______________________________

‘Poetry and pottery are art forms simultaneously ancient and yet made for the moment. The words flow like coils of clay to surround the reader and build a vision of the mind and soul of the poet. Potter Max Early’s poetry in ‘Ears of Corn: Listen” reveals much about life in his native Laguna Pueblo. More importantly it gives a modern voice to an ancient culture making it relevant for both a new generation and also those outside the Pueblo. The poems tell his story of how, “Breaking gender taboos didn’t turn me to stone” and the delicate balance he finds between embracing modernity and reveling in the past. The use of native Laguna words adds grace to the poems, much like a perfectly painted vessel; they lyrically draw the eye, create balance and provide a connection to the viewer. Not only is Max’s collection of poems worth a read, but a second read as well. The first time they may just seem pretty, but the second time the novelty is gone and the substance remains. Much like Max’s pottery.’
Charles S. King, Author of “Born of Fire: The Pottery of Margaret Tafoya” and “The Life and Art of Tony Da”

_________________________________

Max Early was born into a tradition of potters and clay. He creates traditional pottery in order to help save the art of pottery making in Laguna Pueblo.When hbegan to focus on writing, he continued his passion for celebrating his family, culture, language,and the enchanting New Mexico landscape.

Honors and awards for Early in pottery include a Fellowship from the Southwestern Association for Indian Arts;a Native American Community Scholar Appointment: Office of Fellowships and Grants,Smithsonian Institution, Washington, D.C.; the Museum Guild Indian Fair & Market judge’s Award in Sculpture; the Gallup Inter-Tribal Indian Ceremonial-First in Effigies/Special Elkus Memorial Award; and the Santa Fe Indian Market-First in Traditional Pottery/Wedding Vases.

$ 25.00
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