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Namingha, Les – Jar with Cloud Swirls

Namingha, Les – Jar with Cloud Swirls

5"w x 4.5"h
$ 900.00
Availability: In stock

This jar by Les Namingha uses traditional Hopi clay, is painted with bee-weed and natural clay slips,  and it was traditionally fired. The jar is from the late 1990’s.  The piece is fully polished and it has a free flowing cloud, rain and sun design.  It is interesting to see how early on Les had evolved from traditional Hopi-Tewa designs to more create and innovative imagery.  Today, his work utilizes acrylic as opposed to the traditional clay slips.  The various colors on the surface are the blushes from the firing.  It is signed, “Les Namingha” and it is in excellent condition with no chips, cracks, restoration or repair.


In stock


Artist

Artist

Namingha, Les (b. 1967)

Les Namingha

Les Namingha

Les Namingha is the son of Emerson Namingha, the grandson of Rachel Nampeyo, great-grandson of Annie Healing, and a great-great-grandson of Nampeyo of Hano. Les blends and deconstructs traditional and historic designs in an amazingly modern style. The precision of his painting is undoubtedly a reflection of his learning to make pottery from his aunt, Dextra Quotskuyva of Hopi, a master potter and world renown innovator.  Les has won numerous awards for his pottery at Santa Fe Indian Market, the Heard Museum Market, and other events along with being featured in multiple books on Hopi and Pueblo art. He continues to be one of the dynamic innovators in Pueblo pottery! Les Namingha transforms and challenges the surface expectations of Hopi and Pueblo pottery through his creative designs, textures, and materials.  He is much a painter as a potter, and his vessels rely on form, surface design, and color to reveal their ancient and modern artistic influences. Les says of his work; “Sometimes the painting goes with the flow of what’s in you.  There’s not as much thought as in other pieces. That comes from my love of abstract painting where the process is the process.  There are other works where there is thought that goes into it. Maybe I’m working on the under-structure design with painting first and then laying it aside for a bit.  I’ll think about where to go next and see where the piece leads me. There is also solely relying on the teaching of the older Nampeyo type designs. There the process for me is trying to work with the color since the structure is already there. The question is what I’m going to do with it. “
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