Bob
is a native of Utah and has lived in Moab since 1996. He became interested
in gourds in 1998 when he decided to grow a few bottle gourds to make birdhouses
and bird feeders With that first crop, Bob became fascinated by the uniqueness
and natural beauty of every gourd that he grew.
Bob creates his work with wood burning tools. He enhances
his designs with dyes in the natural colors that are found in this part
of southeastern Utah. Much of his artwork includes accurate depictions of
the petroglyphs and pictographs that adorn the canyon walls in this area.
His minimal design technique allows the natural beauty of the gourd to remain.
In addition to decorative pots, bowls and ladles, Bob makes
musical instruments from gourds, including drums, rattles, maracas and mbiris
(thumb pianos). He makes other unique items, depending on the shape of the
particular gourd.
Bob has been honored as a contributor to Utah State University's
" Western American Literature" and as Artist of the month in "Moab Happenings."
He is a member of the American Gourd Society and is a founding
member of the Castle Valley Gourd Festival.
Two of his goals include sharing his knowledge of gourds
and continuing to create one-of-a-kind works of art from gourds that he
grows in Grand County.
Mara Stoneware Browse Mara Stoneware
| Previous Page Mara
is an accomplished painter, sculptor and ceramicist who has studied engraving
with the famous artist Alfredo Zalce. After studying art in London, she
began working with high-temperature ceramics and created wonderfully unique
glazes for her pieces. She then went on to study with the Italian ceramist,
Bruno Terese, in Italy. Mara has had numerous expositions of her original
pieces in Europe, the United States and Mexico.
"She has developed a fine sensibility in schematic and precise
line drawings. Ceramics is no easy medium for precise line drawings, yet
Mara has mastered her technique with brush and stylus and has been able
to portray her life experiences with unrivaled naturalness. We see her universe
on parade in all of her pieces, whether they be vases or plaques. Flowers,
birds and geometric designs all represent her personal vision and display
her unique perceptions of the world." Alfredo Zalce, May 1994
Kabana,
renowned and undisputed Master of Inlay, is one of the few jewelry manufacturing
companies in the United States that does not outsource any portion of our
product. From the drawing table to finish, each piece is produced entirely
in the United States. Our innovative design team creates for you pieces
of exquisite beauty. Our artisans not only utilize the traditional methods
of inlay but take it to new heights of expertise. It is the combination
of contemporary design, time-honored methods and our state of the art production
facility that results in Kabana's Collections.
Over
the last two decades, Alvin Marshall has received much acclaim
in the art world. He has been included in the Rising Stars 2001
exhibit at the Desert Caballeros Museum in Wickenburg, AZ. In
the early 80"s, he was named Sculptor of the Year at the Native
American Art Show sponsored by the famous Heard Museum in Phoenix.
Marshall's images that emerge from alabaster
stone tell stories of his Navajo culture. Working through a
process relying on his ability to visualize "memory photos",
he says: " I often feel like an instrument through which my
art flows".
Marshall believes there is a need for spiritual
connection among different peoples. His special gift is the
ability to produce art that embodies an authentic spirituality
that can unite. He worries that "we've lost the togetherness
as a people" and hopes that through his art he can share the
closeness and harmony that was at the heart of Navajo life.
Despite his successful career as one of today's
best Native American stone sculptors, Alvin remains a quiet,
spiritual man who lives in his native Four Corners area of New
Mexico with his wife Laverna and five children.
Antoinette Silas Honie is from the Tewa/Laguna, Kachina Clan. She is the
daughter of Roberta Silas and sister of Louann, Venora and the late Loretta
Silas and Jofern Silas puffer.
Antoinette has been making pottery for over 15 years now.
She learned her craft for her mother, Roberta Silas. Antoinette has hand
coiled and hand painted this piece in the Hopi tradition. Like her mother
and sisters, she gathers her own clay at first mesa along with clays, minerals
and vegetation that are used to create the beautiful designs that are the
hallmark of the Silas family.
Few craft artists, Native American or otherwise,
can claim worldwide fame and appreciation, but these accompanied
the life of potter Maria Martinez of San Ildefonso Pueblo. Through
her hard work and generous sharing of her techniques, Maria
reintroduced the art of pottery making to her people, providing
them with a means of artistic expression and for retaining some
aspects of the pueblo way of life.
San Ildefonso Pueblo is
a quiet community located 20 miles northwest of Santa Fe, New
Mexico. Inhabited since A.D. 1300, the pueblo saw many changes
that resulted in a rich culture, in which ancient traditions
mix with Spanish festivals and Anglo conveniences. Life in the
Tewa-speaking village on the Pajarito Plateau is filled with
love for one's neighbor and respect for the God-given gifts
of the earth. Into this community, at a time of great transition
from isolation to increased contact with other peoples, Maria
Antonia Montoya was born, probably in the year 1887. For nearly
one hundred years, until her death in 1980, Maria lived in the
pueblo, eager to greet visitors and to share her craft with
those who would like to watch and listen.
My
name is Lucy. I am Dine' (Navajo) but with some Hopi-Tewa ancestory. My
clan is Tlashchi'i (Red Bottom), born for Todichi'ni (Bitter Water). I am
mostly a self-taught potter who has spent 34 years refining the art of Navajo
Pottery up and beyond tradition but still using traditional materials and
methods.
My artwork is influenced by the ceremonies and traditional
teachings of my grandfather and of my great-grandmother who partially raised
me. Also the pottery from the ancient ruins near my home and my many Pueblo
friends who inspired me, and quite possibly some of my Hopi-Tewa ancestory.
The main shows that I always participate in are the Santa
Fe Indian Market in August and the Heard Museum Show in March. My husband
and I do not travel as much as we used to. Other shows I have participated
in are Eight Northern Pueblos, Gallup Ceremonial, Dallas Indian Festival
of Arts, Totah Festival, Eitljorg Museum Show, Southwest Museum, the Red
Earth Festival, Indian Artists of America, Rancacus Show, and the Pueblo
Grande Show.
Some of my pottery is in the collections of Robert Redford,
Lane Allen, The Raymond James Financial Institution, Heard Museum, Denver
Museum of Natural History, San Diego Museum of Man, and the LDS Temple in
Albuquerque.
Navajo
artist Alice Cling was born around 1946 in a hogan at Cow Springs, in the
Tonalea section of Arizona. Her pots, embellished with the traditional thin
coat of pitch, are deceptively simple. Their lasting beauty comes from her
unusual use of clay and from the striking colors caused by outdoor firing.
Alice learned how to make pottery from her mother, Rose Williams, an innovative
Navajo potter who had been trained by her aunt, Grace Barlow, who had raised
Rose at Shonto. Grace, Rose, and Alice have been the inspiration for many
Navajo potters who have recently tried to make pottery for the "market."
Navajo clay-work for hundreds of years was made for domestic or ceremonial
use only. No railroad stations or museums existed in this vast, sparsely
populated desert landscape to spark a demand for tourist goods or for scholarly
endeavors that would bring the art of potters to the fore. After graduating
from an Indian school, Alice married Jerry Cling. They have four children
who make pottery now, too. The family digs the brown-firing clay from a
special place near Black Mesa, screens it to eliminate impurities, and mixes
it with sand for temper and with water to make it workable. Alice's particularly
unusual aesthetic contribution to the Navajo pottery renaissance is the
magnificent coloration she achieves on the softly burnished and lightly
pitch-coated surfaces of her forms.
Anderson
Peynetsa is the brother of Priscilla, and the son of Wilma Jean Peynetsa.
Anderson began making pottery in the eighth grade and in the last ten years
or so has now developed into an outstanding craftsman. He is among the best-known
potters at Zuni pueblo who work within the traditional style. This involves
gathering the clay and the natural pigments used to paint the designs on
the pottery from the area around the Zuni Pueblo. His thin-walled pots are
hand coiled and fired outdoors (not in a kiln), and the designs on them
are a progression of the traditional designs of his ancestors. Anderson
is a master of interpreting the ancient designs to produce his contemporary
themes. His jars are often large, but exude a remarkable appeal of smoothness
and balance. His Walking-Deer design has made him famous, but he also makes
whimsical Peering-Lizard pots in which the heads of a number of geckos extending
over the rim of the pot. In making his pots, Anderson is often aided by
his wife, Aurelia, who polishes his clay creations.
Anderson has been distinguished many times with prestigious awards for his
work, and has been invited to visit the Heard museum on a number of occasions.
Ralph
Aragon is a full blooded Native American Indian. He was born into the San
Felipe Pueblo and married into the Zia Pueblo, where he has lived for the
past twenty years. As long as he can remember, Ralph has had the desire
to create his own unique style of art. With traditional upbringing instilled
in Ralph, he has learned to respect the beauty of nature which is evident
in his animal motifs and earth tone palettes, which are abundantly used
in his art. Over the years, Ralph has experimented with his own unique style
of painting. He combines contemporary painting techniques with traditional
Zia pottery designs, in order to obtain the rock art images and patterns
that are associated with social and spiritual themes. Ralph is a strong
believer in continuing the traditional ways of his people.
Ralph studied at the Institute of American Indian Arts in Santa Fe, New
Mexico., In addition, his own quest for a unique way to express his creativity
has led him successfully to hand paint shields, pottery, and gourds. Because
of this, he has created “something different” for us to enjoy and images
that “help preserve his culture and heritage”. He specializes in hand painting
handmade pottery using acrylic paints. He signs his pottery as: R. Aragon,
incorporated with a Kiva step style, which is a celebration of Pueblo life
and the festivities of harvest time.
Kelli was born in 1967. She is the grand daughter of Camilio Tafoya,
daughter to Joe Tafoya and Lucy Year Flower. Her Aunt and Uncle are Grace
Medicine Flower and Joseph Lonewolf. She has three siblings, Myra Little
Snow, Shawn Tafoya and Forrest Red Clowd Tafoya. Publications: Fourteen Families in Pueblo Pottery.
Vernida
Polacca (Nampeyo) is Nampeyo of Hano's great-granddaughter, the daughter
of Harold Polacca Nampeyo, Sr. (Tewa) and Alice Polacca (Pima) and sister
to renown potters Clinton and Reva. Her work is traditionally coiled and
fired. She travels around the country exhibiting at major shows and likes
to demonstrate her techniques. Her reputation is growing very quickly.
Vernida created this beautiful Nampeyo family migration pattern on this
hand coiled, traditionally shaped and fired pot measuring 5 inches tall
by 8 inches wide. A little bit of very soft blush from being fired in the
traditional way outdoors using dung - hand coiled, hand painted.
Denise
Chavarria was born in the early 1960’s and she is a full blooded Native
American Indian from the Pueblo of Santa Clara-Tewa. She began working with
clay at the age of 16. She was inspired by her mother, Stella Chavarria,
to continue the long lived family tradition of making pottery using ancient
traditional methods. Stella taught Denise all the fundamentals of working
with clay and encouraged her to continue the family tradition and add to
the legacy.
Denise specializes in hand coiling traditional black on black Santa Clara
pottery. She gathers her clay from within the hills of the Santa Clara Pueblo.
Next, she cleans the clay, mixes, hand coils, shapes, sands, etches, and
fires her pottery, outdoors, using horse dung. Then, she adds a fine polish
which she has mastered to perfection. She signs her pottery as: Denise Chavarria,
Santa Clara Pueblo. She is related to the following artists: Teresita Naranjo
(grandmother), and Loretta “Sunday” Chavarria (sister).
Antoinette Silas Honie is from the Tewa/Laguna, Kachina Clan. She is
the daughter of Roberta Silas and sister of Louann, Venora and the late
Loretta Silas and Jofern Silas puffer.
Antoinette has been making pottery for over 15 years now. She learned
her craft for her mother, Roberta Silas. Antoinette has hand coiled and
hand painted this piece in the Hopi tradition. Like her mother and sisters,
she gathers her own clay at first mesa along with clays, minerals and vegetation
that are used to create the beautiful designs that are the hallmark of the
Silas family.
Marquis
Dann-Lente is a full blooded Native American Indian. He was born in 1970
and is a member of the Water Clan and a member of the Kachina Clan. He is
half Hopi and half Laguna. Marquis was inspired to learn the art of working
with clay from Preston Duwyenie from the Hopi Reservation and May Chavez
from the Acoma Pueblo. They taught Marquis all the fundamentals of constructing
hand coiled pottery using the ancient traditional methods that were passed
down from generation to generation. The lucrative aspect of the business
was also inspiration for him to learn this unique style of art.
Marquis specializes in hand coiled and hand painted traditional pottery.
He gathers his natural clumps of clay and he harvests his raw plants from
within the Acoma Pueblo. He breaks down the the clumps of clay into a fine
powder from and cleans the clay for impurities. Then, he hand mixes the
clay with sand and water to temper the clay. He begins the hand coiling
process by rolling the clay into snake like coils and begins building his
pottery to his desired shape. Once his vessel has been formed it is set
out to dry. He fashions a brush from a yucca stem with his teeth and he
boils his raw plants for his desired natural colors to paint his vessels.
Once the vessels are dry he sands them for a smooth finish. Then, he begins
hand painting his favorite designs such as birds, finelines, rainbow bands,
and geometric designs. Finally, he fires his pottery the traditional way,
outdoors with cedar chips. He signs his pottery as: Lente, Laguna. He is
related to: Floyd Dann, Jr. (father), and Sandra J. Lente (mother).
Preston Duwyenie was born in 1951 and is a member of the Reed Clan. He earned
an AA at the Institute of American Indian Arts, where he also taught for
6 years, and a BFA from Colorado State University. He has been active making
pottery since 1979.
Vangie
Tafoya was born in the small but active village of Jemez (Walatowa) located
about 55 miles from Albuquerque, N.M. She is half San Idelfonso and half
Jemez. Vangie comes from a long line of potters, originating with her Grandmother,
Maria Sanchez Colaque, she is also related to Maria Martinez, the extremely
famous potter known for her black on black pottery. Vangie credits her grandmother
for her inspiration and moving spirit behind her desire, to continue the
family tradition of pottery making.
Vangie has developed her own unique style of flawless freehand designs
of exquisite hummingbirds, water serpents, flowers, and feathers. Her pottery
grabs the attention of viewers, allowing them to experience her living art
and unique designs. Vangie uses all natural materials and paints which she
digs up from the sacred grounds within the Jemez Pueblo. Vangie signs her
pottery as: Vangie Tafoya, Jemez, followed by a eagle feather as her own
singular trademark, to denote her clan origin.
Vangie is also related to the following artists: Helen Henderson, and
Brenda Tafoya (daughters).
Awards:
1999 Santa Fe Indian Market 2nd Place
New Mexico State Fair Best of Show
Eighth Northern Indian Pueblo Art Show 1st and 2nd place
Sandra
Victorino is a full blooded Native American Indian born into the Pueblo
of the Acoma in 1958. She was inspired to learn the art of hand coiling
pottery from admiring her famous Aunt, Dorothy Torivio, who is one of Acoma’s
finest potter’s still alive today. Sandra strongly believes that traditional
ways must be kept alive to continue the long lived legacy of her people.
Sandra gathers the clay from within the sacred grounds in Acoma. She
was taught how to sift clay, hand coil pottery, paint with a yucca plant,
and fire pottery. Sandra specializes in hand coiled pottery with spiral
designs like the step to step, checker board, snowflake, half snowflake,
and fine line designs. She will also paint Kokopelli on her pottery from
time to time. Sandra signs her pottery as: Sandra Victorino, Acoma, NM.
Sandra is related to the following artists: Edna Chino (mother), Brian
Chino (brother), Greg Victorino (brother-in-law), and the famous Dorothy
Torivio (aunt).
Carolyn
Concho-Lewis is a full blooded Native American Indian. She was born in 1963
into the Acoma Pueblo. She was inspired and encouraged to participate in
continuing the long lived tradition of working with clay by several family
members. However, Carolyn credits her older sister, Marilyn Ray-Lewis, with
her decision to become an artist who only uses natural materials to construct
her art work.
Carolyn specializes in hand coiled pottery using ancient traditional
methods. She gathers her clay from within the Acoma Pueblo. She soaks the
clay, cleans, mixes, hand coils, sands, paints her designs and fires her
pottery outdoors. The colors used to paint her pottery are all derived from
natural pigments and minerals also found within the Acoma Pueblo. Carolyn
paints mimbres designs and animals on her pottery. She signs her pottery
as: Carolyn Concho, Acoma. Carolyn is related to the following artists:
Judy Lewis, Diane Lewis (sisters), Kathleen Lewis (mother), Bernard Lewis
(brother), and Sharon Lewis (sisterin-law).
Publications:
Southern Pueblo Pottery 2,000 Artist Biographies
Southwestern Pottery Anasazi to Zuni
Southwestern Pottery 1999 Edition
Beyond Tradition
Awards:
Heard Museum Art Show 1st Place
Santa Fe Indian Market 2nd Place
Eighth Northern Pueblos Exhibit
Gallup Indian Ceremonial Honorable Mention
New Mexico State Fair 1st, 2nd, & 3rd Place various years
Frederica
Antonio is a full blooded Native American Indian who was born in 1968 into
the Acoma Pueblo. Frederica was inspired to continue the long lived family
tradition of making pottery by her mother-in-law, Mildred Antonio. Frederica
developed an interest in pottery making while observing Mildred hand-coil
and paint on her pottery. Mildred taught Frederica all the fundamentals
of pottery making. Frederica began making pottery at the age of 18.
Frederica specializes in contemporary hand coiled pottery with hand painted
intricate eye dazzling designs. She fashions a brush from the stems of a
yucca plant to paint her eye dazzling designs. She also paints a band on
the side of her pottery with kokopelli (god of fertility). She also paints
using different colors of paint so the pottery gives you a unique three
dimensional effect. She hand coils a variety of sizes and styles, every
one of her pots is a one of a kind work of art; there are no two pieces
alike. She signs her masterpieces as: F.V. Antonio, Acoma, N.M. Frederica
is also related to Melissa Antonio (cousin).
Dorothy
Torivio was born in 1946 into the Acoma Pueblo. She is one of Acoma’s finest
potters around today. She travels all over the U.S. demonstrating her skills.
She has been making abstract designs on pottery since 1974. Dorothy would
observe her Mother, Mary Valley, make pottery at a very young age. However,
Dorothy was self taught and did not receive any direct instruction from
her.
Dorothy specializes in Acoma hand coiled abstract pottery. She got the
idea one day, back in 1982, to paint a design and repeat it over and over
again on the shape of the pot. Dorothy basically combines the traditional
pottery with her own penchant for the kinetic image, and thus creates an
eye catching swirl design that contains both radiating and spiral motion.
She uses a chewed yucca stalk that she fashions into a brush to paint with.
Dorothy breaks off only what she needs so that the plant is not damaged
and since it comes from Mother earth, it’s free. Dorothy says “I love the
travel and expressing myself about my pottery, it creates inspiration for
the younger artists out there.” Among the many relatives Sandra Victorino
(neice) is one following her footsteps.
Lois
Gutierrez learned to make pottery from her mother, Petra Montoya Gutierrez,
who had married into Santa Clara from Pojoaque. Her sister, Gloria (Goldenrod)
is known for her small contemporary sgraffito pieces. But Lois makes large
pieces, reinterpreting the polychrome design making. She sometimes draws
Koshare clowns, butterflies, and Pueblo scenes. Her husband Derek helped
her gather her clay. He was quoted in Talking With the Clay as saying, "If
you look hard enough you can find clay here and there all over the mountains,
but you got to look for it. It doesn't just jump out at you. It is beautiful
when you dig in it. The white clay looks like candy, white chocolate. When
you're digging in it, you don't want to stop, it feels so neat." He sure
does make it sound inviting!
Lois developed a very distinctive slip - by adding white to dark gold
clay to make a buff colored background. Lois has said, "My favorite part
is firing. When it fires good, you know that your time and hard work has
been worth it."
I
am from Jemez Pueblo, known as Walatowa, "the Place." I am a third generation
potter. I have been making pottery for over twenty years. I make melon pots
and incised pottery. I learned my skills from my Mother, Ida Yepa and I
have sisters that are potters also. My mother and I are in the fall 1998
issue of the Indian Artist Collector's Guide and in the publication, SOUTHERN
PUEBLO POTTERY. Emma has received ribbons for her work at the Walatowa Arts
and Crafts Show. In 2002 she received a blue ribbon at the Santa Fe Indian
Market. Emma Yepa was born on May 13, 1968 and belongs to the Jemez, Cayote
Clan.
AWARDS: 2000, 1st; 2001, 2nd. Jemez Red Rocks Arts & Crafts Show. She
comes from a long line of Noted Jemez pueblo potters including her mother
Ida Yepa, her grandmother Reyes Toya and her Aunt Alvina Yepa. Although
young, Emma has over 20 years of pottery experience since she began the
trade at the young age of 13.
EXHIBITIONS: 1997-present, Indian Market, Santa Fe; 1997-present, Eight
Northern Indian Pueblos Art & Crafts Show; 1998-present, Southwest Museum
Show, Los Angeles, CA
Geraldine
F. Sandia is a full blooded Native American Indian. She was born into the
Jemez Pueblo in 1950. Geraldine began experimenting with clay at the age
of 10. She was inspired to learn and continue the long lived tradition of
working with clay from her mother, Cecilia Loretto. Cecilia taught Geraldine
all the fundamentals and shared with her all the special techniques of a
master pottery artist. The lucrative aspect of the business was also inspiration
for her to become an artist.
Geraldine specializes in handmade, hand painted two toned polychrome,
stone polished traditional Jemez pottery. She gathers her clay from within
the hills of the Jemez Pueblo. She breaks the clumps of clay down to a fine
powder form and mixes with water and other natural pigments. Then, Geraldine
begins forming the clay to the desired shape and size by the hand coiling
method. Once the pot is dry she sands her formed pottery to the desired
weight. She hand paints patterns of feathers and geometric designs among
many other patterns. She fires her pottery outdoors, the traditional way
of her ancestors. She is related to the following artists: Caroline G. Loretto,
Mary H. Loretto (sisters), Florence Aragon, Rachael Aragon (aunts), Natalie
Sandia, Rachael Sandia, and Jocelyn Sandia (daughters). She signs her pottery
as: G. Sandia, Jemez.
Elizabeth
Medina, “Sepia”, was born in 1956 into the Jemez Pueblo. She married into
the Zia Pueblo. She was inspired by her Mother-in-Law, Sofia Medina, to
learn the art of working with clay. Elizabeth observed Sofia with much enthusiasm
in hopes of achieving the same skills. It appears from what Elizabeth has
accomplished, that she has achieved her goal.
Elizabeth specializes in the hand made traditional Zia pottery with traditional
symbols and birds. She digs up her own clay, cleans, mixes, coils, shapes,
fires, and paints her pottery the traditional way, with natural colors.
Elizabeth signs her pottery as: Elizabeth Medina, Zia. Elizabeth is related
to the following artists: Marcellus Medina (husband), Lois Medina (sister-in-law),
and Sofia Medina (mother-in-law).
Pauline
Romero is a full blooded Native American Indian from the Jemez Pueblo. Pauline
has been hand coiling pottery for more than 15 years. Her mother, Persingula
R. Tosa, taught Pauline all the fundamentals of making pottery the traditional
way. Her mother also strongly encouraged her to continue the family tradition
and assist with keeping the long lived tradition alive.
Pauline continues to use the traditional methods of pottery making, but
has come a long way from the poster-paint days of the Jemez pottery. She
gathers her clay from within the hills of the Jemez Pueblo. She also cleans,
mixes, hand coils, shapes, paints, polishes, and fires her pottery the traditional
way, outdoors. She has a unique method of adding a hand stone polish to
a red or buff colored slip. The shapes are swirl bowls, wedding vases and
various shaped pots. Pauline has also started to etch on her pottery, which
add a very elegant contrast to the her polished work. She signs her pottery
as: Pauline Romero, Jemez.
Pauline is related to the following artists: Marie Romero, Christine
Tosa, and Maxine Toya
Marcella
Yepa, member of the Sun Clan, is a full blooded Native American Indian.
She was born into the Jemez Pueblo in 1964. Marcella began working with
clay at the age of 19. She was inspired to learn the art of working with
clay from her aunt, Alvina Yepa. Alvina shared with Marcella all the fundamentals
of hand coiling traditional pottery. She also taught her which hills provided
the best clay to work with and special techniques to construct her art.
The lucrative aspect also inspired Marcella to become an artisan. However,
establishing her own unique style of art gave her a feeling of self worth.
Marcella specializes in hand coiled contemporary swirl and melon styled
pottery. She gathers her clay and other natural pigments within the Jemez
Pueblo. She soaks the clay, grinds it to a powder form, cleans the clay,
hand mixes, hand coils, shapes, carves the pottery, polishes her pottery
with a stone, and fires her pottery outdoors with cedar chips. She hand
coils many shapes and sizes of pottery like wedding vases, ollas, and traditional
shapes. She signs her pottery as: M. Yepa, Jemez, or Marcella Yepa, Jemez.
She is related to the following artists: Emma Yepa (cousin), and Lawrence
Yepa.
Gwen
Tafoya was born in 1965 into the Santa Clara Pueblo-Tewa. She began experimenting
with pottery making at the age of 6. She started out hand coiling small
bowls and pots, using traditional methods. Gwen began making larger pieces
of pottery by the time she reached the age of 16, and eventually would etch
on the pottery steadily. Gwen was inspired to make pottery by her mother,
Mary Agnes Tafoya.
She taught Gwen all the fundamentals of hand coiling traditional Santa
Clara Pottery.
Gwen specializes in hand coiling the traditional Santa Clara pottery,
carved and etched by her. She gathers her natural pigments from within the
hills of the Santa Clara Pueblo. Gwen cleans, mixes, hand coils, shapes,
polishes, and fires her pottery, outdoors with horse manure. She especially
likes to make seed pots because she has more room to etch her favorite designs
of hummingbirds or flowers on the top of the pottery. Gwen also has a special
part in her heart for the wedding vase because of its meaning. Gwen signs
her pottery as “Gwen Tafoya SCP”.
Gwen is related to the following artists: Angela Baca (aunt), Madeline
Naranjo (aunt), Belen Tapia (aunt),Tina Garcia, Greg Garcia, Virgie Garcia,
and Paul Speckled Rock (cousins).
Awards:
1994 Gallup Best of show
1995 Pasadena CA Best of show
1995 & 1996 (2) 2nd place at Eighth Northern Arts and Crafts
Carol Loretto (signs C. G. Loretto) has been an active Jemez potter since
1977 working with polished cream and black-on-redware jars, bowls and miniatures.
She was taught traditional pottery making by her mother Nanette Loretto.
Her sister, Geraldine Sandia, who is a highly acclaimed Jemez potter
Jon
Stuart Anderson is simply the foremost polymer clay artist in the world
today. His amazing technique has been honed by over a decade of hard work,
creative vision and dedication to the art of polymer clay.
An accomplished painter, sculptor and jewelry designer Jon
lived among incredibly diverse cross sections of the world's people from
Central America to the Far East, and his designs show the influences of
classical Moorish motifs, Native American spirits, ancient petroglyphs and
Celtic themes.
Read more...
My name is Veryl Pooyouma from the village of Hotevilla.
I am full Hopi of the Sun and Corn Clan.
I started learning the art of silversmith by watching well
known Hopi artists, Charles Loloma and Lawrence Saufkie. I am a self-taught
artist and started making pieces at the age of 17.
Most of my work show traditional Hopi designs with some
contemporary work. I work with stones and gold on occasions. I make a wide
range of pieces from the traditional pieces to the custom made pieces. All
of my work projects Hopi symbolisms which reveal the Hopi spirits and life.
Bob
is a native of Utah and has lived in Moab since 1996. He became interested
in gourds in 1998 when he decided to grow a few bottle gourds to make birdhouses
and bird feeders With that first crop, Bob became fascinated by the uniqueness
and natural beauty of every gourd that he grew. 
Mara
is an accomplished painter, sculptor and ceramicist who has studied engraving
with the famous artist Alfredo Zalce. After studying art in London, she
began working with high-temperature ceramics and created wonderfully unique
glazes for her pieces. She then went on to study with the Italian ceramist,
Bruno Terese, in Italy. Mara has had numerous expositions of her original
pieces in Europe, the United States and Mexico.
Kabana,
renowned and undisputed Master of Inlay, is one of the few jewelry manufacturing
companies in the United States that does not outsource any portion of our
product. From the drawing table to finish, each piece is produced entirely
in the United States. Our innovative design team creates for you pieces
of exquisite beauty. Our artisans not only utilize the traditional methods
of inlay but take it to new heights of expertise. It is the combination
of contemporary design, time-honored methods and our state of the art production
facility that results in Kabana's Collections. 
Over
the last two decades, Alvin Marshall has received much acclaim
in the art world. He has been included in the Rising Stars 2001
exhibit at the Desert Caballeros Museum in Wickenburg, AZ. In
the early 80"s, he was named Sculptor of the Year at the Native
American Art Show sponsored by the famous Heard Museum in Phoenix.
My
name is Lucy. I am Dine' (Navajo) but with some Hopi-Tewa ancestory. My
clan is Tlashchi'i (Red Bottom), born for Todichi'ni (Bitter Water). I am
mostly a self-taught potter who has spent 34 years refining the art of Navajo
Pottery up and beyond tradition but still using traditional materials and
methods. 
Navajo
artist Alice Cling was born around 1946 in a hogan at Cow Springs, in the
Tonalea section of Arizona. Her pots, embellished with the traditional thin
coat of pitch, are deceptively simple. Their lasting beauty comes from her
unusual use of clay and from the striking colors caused by outdoor firing.
Alice learned how to make pottery from her mother, Rose Williams, an innovative
Navajo potter who had been trained by her aunt, Grace Barlow, who had raised
Rose at Shonto. Grace, Rose, and Alice have been the inspiration for many
Navajo potters who have recently tried to make pottery for the "market."
Navajo clay-work for hundreds of years was made for domestic or ceremonial
use only. No railroad stations or museums existed in this vast, sparsely
populated desert landscape to spark a demand for tourist goods or for scholarly
endeavors that would bring the art of potters to the fore. After graduating
from an Indian school, Alice married Jerry Cling. They have four children
who make pottery now, too. The family digs the brown-firing clay from a
special place near Black Mesa, screens it to eliminate impurities, and mixes
it with sand for temper and with water to make it workable. Alice's particularly
unusual aesthetic contribution to the Navajo pottery renaissance is the
magnificent coloration she achieves on the softly burnished and lightly
pitch-coated surfaces of her forms. 
Anderson
Peynetsa is the brother of Priscilla, and the son of Wilma Jean Peynetsa.
Anderson began making pottery in the eighth grade and in the last ten years
or so has now developed into an outstanding craftsman. He is among the best-known
potters at Zuni pueblo who work within the traditional style. This involves
gathering the clay and the natural pigments used to paint the designs on
the pottery from the area around the Zuni Pueblo. His thin-walled pots are
hand coiled and fired outdoors (not in a kiln), and the designs on them
are a progression of the traditional designs of his ancestors. Anderson
is a master of interpreting the ancient designs to produce his contemporary
themes. His jars are often large, but exude a remarkable appeal of smoothness
and balance. His Walking-Deer design has made him famous, but he also makes
whimsical Peering-Lizard pots in which the heads of a number of geckos extending
over the rim of the pot. In making his pots, Anderson is often aided by
his wife, Aurelia, who polishes his clay creations.
Ralph
Aragon is a full blooded Native American Indian. He was born into the San
Felipe Pueblo and married into the Zia Pueblo, where he has lived for the
past twenty years. As long as he can remember, Ralph has had the desire
to create his own unique style of art. With traditional upbringing instilled
in Ralph, he has learned to respect the beauty of nature which is evident
in his animal motifs and earth tone palettes, which are abundantly used
in his art. Over the years, Ralph has experimented with his own unique style
of painting. He combines contemporary painting techniques with traditional
Zia pottery designs, in order to obtain the rock art images and patterns
that are associated with social and spiritual themes. Ralph is a strong
believer in continuing the traditional ways of his people.
Vernida
Polacca (Nampeyo) is Nampeyo of Hano's great-granddaughter, the daughter
of Harold Polacca Nampeyo, Sr. (Tewa) and Alice Polacca (Pima) and sister
to renown potters Clinton and Reva. Her work is traditionally coiled and
fired. She travels around the country exhibiting at major shows and likes
to demonstrate her techniques. Her reputation is growing very quickly.
Denise
Chavarria was born in the early 1960’s and she is a full blooded Native
American Indian from the Pueblo of Santa Clara-Tewa. She began working with
clay at the age of 16. She was inspired by her mother, Stella Chavarria,
to continue the long lived family tradition of making pottery using ancient
traditional methods. Stella taught Denise all the fundamentals of working
with clay and encouraged her to continue the family tradition and add to
the legacy.
Marquis
Dann-Lente is a full blooded Native American Indian. He was born in 1970
and is a member of the Water Clan and a member of the Kachina Clan. He is
half Hopi and half Laguna. Marquis was inspired to learn the art of working
with clay from Preston Duwyenie from the Hopi Reservation and May Chavez
from the Acoma Pueblo. They taught Marquis all the fundamentals of constructing
hand coiled pottery using the ancient traditional methods that were passed
down from generation to generation. The lucrative aspect of the business
was also inspiration for him to learn this unique style of art. 
Vangie
Tafoya was born in the small but active village of Jemez (Walatowa) located
about 55 miles from Albuquerque, N.M. She is half San Idelfonso and half
Jemez. Vangie comes from a long line of potters, originating with her Grandmother,
Maria Sanchez Colaque, she is also related to Maria Martinez, the extremely
famous potter known for her black on black pottery. Vangie credits her grandmother
for her inspiration and moving spirit behind her desire, to continue the
family tradition of pottery making. 
Sandra
Victorino is a full blooded Native American Indian born into the Pueblo
of the Acoma in 1958. She was inspired to learn the art of hand coiling
pottery from admiring her famous Aunt, Dorothy Torivio, who is one of Acoma’s
finest potter’s still alive today. Sandra strongly believes that traditional
ways must be kept alive to continue the long lived legacy of her people.
Carolyn
Concho-Lewis is a full blooded Native American Indian. She was born in 1963
into the Acoma Pueblo. She was inspired and encouraged to participate in
continuing the long lived tradition of working with clay by several family
members. However, Carolyn credits her older sister, Marilyn Ray-Lewis, with
her decision to become an artist who only uses natural materials to construct
her art work.
Frederica
Antonio is a full blooded Native American Indian who was born in 1968 into
the Acoma Pueblo. Frederica was inspired to continue the long lived family
tradition of making pottery by her mother-in-law, Mildred Antonio. Frederica
developed an interest in pottery making while observing Mildred hand-coil
and paint on her pottery. Mildred taught Frederica all the fundamentals
of pottery making. Frederica began making pottery at the age of 18.
Dorothy
Torivio was born in 1946 into the Acoma Pueblo. She is one of Acoma’s finest
potters around today. She travels all over the U.S. demonstrating her skills.
She has been making abstract designs on pottery since 1974. Dorothy would
observe her Mother, Mary Valley, make pottery at a very young age. However,
Dorothy was self taught and did not receive any direct instruction from
her. 
Lois
Gutierrez learned to make pottery from her mother, Petra Montoya Gutierrez,
who had married into Santa Clara from Pojoaque. Her sister, Gloria (Goldenrod)
is known for her small contemporary sgraffito pieces. But Lois makes large
pieces, reinterpreting the polychrome design making. She sometimes draws
Koshare clowns, butterflies, and Pueblo scenes. Her husband Derek helped
her gather her clay. He was quoted in Talking With the Clay as saying, "If
you look hard enough you can find clay here and there all over the mountains,
but you got to look for it. It doesn't just jump out at you. It is beautiful
when you dig in it. The white clay looks like candy, white chocolate. When
you're digging in it, you don't want to stop, it feels so neat." He sure
does make it sound inviting! 
I
am from Jemez Pueblo, known as Walatowa, "the Place." I am a third generation
potter. I have been making pottery for over twenty years. I make melon pots
and incised pottery. I learned my skills from my Mother, Ida Yepa and I
have sisters that are potters also. My mother and I are in the fall 1998
issue of the Indian Artist Collector's Guide and in the publication, SOUTHERN
PUEBLO POTTERY. Emma has received ribbons for her work at the Walatowa Arts
and Crafts Show. In 2002 she received a blue ribbon at the Santa Fe Indian
Market. Emma Yepa was born on May 13, 1968 and belongs to the Jemez, Cayote
Clan. 
Geraldine
F. Sandia is a full blooded Native American Indian. She was born into the
Jemez Pueblo in 1950. Geraldine began experimenting with clay at the age
of 10. She was inspired to learn and continue the long lived tradition of
working with clay from her mother, Cecilia Loretto. Cecilia taught Geraldine
all the fundamentals and shared with her all the special techniques of a
master pottery artist. The lucrative aspect of the business was also inspiration
for her to become an artist.
Elizabeth
Medina, “Sepia”, was born in 1956 into the Jemez Pueblo. She married into
the Zia Pueblo. She was inspired by her Mother-in-Law, Sofia Medina, to
learn the art of working with clay. Elizabeth observed Sofia with much enthusiasm
in hopes of achieving the same skills. It appears from what Elizabeth has
accomplished, that she has achieved her goal.
Pauline
Romero is a full blooded Native American Indian from the Jemez Pueblo. Pauline
has been hand coiling pottery for more than 15 years. Her mother, Persingula
R. Tosa, taught Pauline all the fundamentals of making pottery the traditional
way. Her mother also strongly encouraged her to continue the family tradition
and assist with keeping the long lived tradition alive.
Marcella
Yepa, member of the Sun Clan, is a full blooded Native American Indian.
She was born into the Jemez Pueblo in 1964. Marcella began working with
clay at the age of 19. She was inspired to learn the art of working with
clay from her aunt, Alvina Yepa. Alvina shared with Marcella all the fundamentals
of hand coiling traditional pottery. She also taught her which hills provided
the best clay to work with and special techniques to construct her art.
The lucrative aspect also inspired Marcella to become an artisan. However,
establishing her own unique style of art gave her a feeling of self worth.
Gwen
Tafoya was born in 1965 into the Santa Clara Pueblo-Tewa. She began experimenting
with pottery making at the age of 6. She started out hand coiling small
bowls and pots, using traditional methods. Gwen began making larger pieces
of pottery by the time she reached the age of 16, and eventually would etch
on the pottery steadily. Gwen was inspired to make pottery by her mother,
Mary Agnes Tafoya.
Jon
Stuart Anderson is simply the foremost polymer clay artist in the world
today. His amazing technique has been honed by over a decade of hard work,
creative vision and dedication to the art of polymer clay. 
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