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Namingha, Les – “Striped Pueblo Jar #1” Jar

Namingha, Les – “Striped Pueblo Jar #1” Jar

7"w x 7.5"h
$ 3,200.00
Availability: Out of stock

This jar by Les Namingha is entitled, “Striped Pueblo Jar #1”.  The shape is one of his now classic forms with a round shoulder and an asymmetrical neck and opening.  The jar is painted with a variety of Pueblo designs.  Around the neck are white cloud and blue sky dots.  Around the shoulder are very finely painted triangular geometrics alternating with tightly painted mulit-color rectangles.  The triangles are inspired by Acoma, while the colored rectangles remind one of the jewelry of Charles Loloma and his inspiration of the Hopi landscape.  Below that are striped bands of color along with pointilsim sections.  These various designs remind one of Acoma, Zuni and Hopi designs.  The lower band has thinly painted intersecting circles and lines creating a variety of interlocking patterns.  The lowest section has the black triangular designs on the brown band are inspired by the work of the Southern pueblos.  As all the imagery is broken apart, the various sources of inspiration become quickly evident.  It is certainly a creative direction for his pottery designs.  The jar is signed on the bottom.


Out of 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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