This is one of the largest pieces we have had this year by Les Namingha.  He is one of those potters who continues to defy expectations in his innovative clay art.  He pulls from his artistic background as well as his Zuni and Hopi heritage.  His most recent work has pulled from Hopi imagery yet combined it in a manner which is modern in appearance.  Les says of this piece:

“The concept of layering is inherent in our mortal journey. As time moves forward, our memories become layered. Some memories remain vibrant, others faint or hazy. Yet others, obscure or even hidden. Likewise, our experiences, words, works, emotions, prayers and songs build up in layers creating our existence. In turn, our societal interactions become exercises in layering. We see this in evidence with street art or graffiti writing where layers of thought and a desire to express a “proof of existence” create tapestries of color and marks. Blending, covering, harmonizing, dissonance, disappearing. This concept of layering is the idea behind Urban Polychrome and other works in the Urban Series.”

On the surface of the jar, it is possible to see large Hopi style birds, geometric patterns, pointillism and checkerboard patterns.  Each connects to the other while some are overlaid on top of the next.  It is a complex piece and yet it has its own flow and dynamic appearance. The layered lines at the bottom, much like the lines of stone on a piece of jewelry by Charles Loloma, have their own distinctive texture. It is an exceptional piece in size and design.  It is signed on the bottom.