Tim Edaakie was a grandson of jewelers Dennis and Nancy Edaakie. In 2019 he was awarded the prestigious “Native Artist Fellow” at the School of Advanced Research in Santa Fe, NM. Unfortunately, he passed away in 2020. He was working to revive traditional Zuni pottery methods, forms, and designs with a focus on the transition from Matsaki to A:shiwi styles. This bowl is inspired by historical Four Mile Polychrome pottery that was made around 1175-1450 in the Cibola area west of Zuni Pueblo. The bowl is coil-built and made from red clay. The interior is painted with large, swirling cloud designs. The exterior is painted with white clay and has interlocking cloud and mountain patterns. It is signed on the back, “Edaakie 2019”. It is in very good condition with no chips, cracks, restoration, or repair.
A bit more about Four Mile Polychrome pottery…
“The final evolutionary stage of White Mountain Red Wares is witnessed in the advent of Four Mile Polychrome (ca. A.D. 1300 to 1400) when white paint was incorporated into design elements on the interior of bowls and on the exterior of vessel forms. Innovative asymmetrical compositions were also developed in Four Mile, and design elements such as mosquito bar hatch fill and negative painting borrowed from Kayenta ceramic types became common . . . Four Mile Polychrome are found in concentration below the Mogollon Rim between Cherry Creek on the west, Cedar Creek on the east, and southward nearly to the upper Salt River. This concentration is east of the Tonto Basin and Salado heartland.” Moulard, 2002
Tim Edaakie was from Zuni Pueblo.
Edaakie first began making pottery when he was a high school student, and has continued to refine his use of traditional Zuni techniques and materials since. He was passionate about sharing knowledge about pottery within the pueblo and ensuring that knowledge is preserved to be passed onto future generations. One of Edaakie’s goals is to revive certain traditional pottery methods, forms, and designs that are not currently being used in the pueblo—he is particularly interested in the transition between Matsaki and A:shiwi styles.
Edaakie comments: “I see my art as a way to help ensure that traditional Zuni pottery continues, to educate Native and non-Native communities about the process of pottery making, and to explain the designs and forms.” Through the project, he hopes “to reintroduce elaborate designs used by my ancestors to present-day potters who are unaware of these intricate patterns.”
"Keshi! Ho' Tim Edaakie leh'shina, from the Pueblo of Zuni. My maternal clan is Frog and my paternal clan is Coyote. I am 43 years old, and have been a self-employed jeweler for more than 20 years. Even though I explored working with clay during my high school years with my art teacher, Gabe Paloma, I didn't work with it professionally, until 10 years ago. By trial and error, I've been learning how to replicate prehistoric and historic Zuni pottery and designs using traditional natural materials collected on the Zuni reservation: clay, pigments and plants for paints. When weather permits, I also fire traditionally outdoors, using sheep manure and locally-sourced wood for the fire.
"I'm a hiker. As I've explored the land around Zuni, I have discovered numerous prehistoric sites containing potsherds and admired how the ceramic forms of my ancestors evolved to what we see today. By recreating pieces characteristic of various periods, I can demonstrate how Zuni ceramics changed in form and design. I enjoy talking about and sharing the trials and successes of my attempts to create my own pottery, reviving shapes and designs seldom found in the work of other Zuni potters. Each piece becomes a celebration of my cultural heritage and the blessings given to me by my ancestors."