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Russell Sanchez pottery
Russell Sanchez was born at the San Ildefonso Pueblo. He has continued to live there all his life. Russell started making pottery at a
very young age. If you could see his pots from when he was thirteen or so - you would be able to tell that a great talent was
emerging! Russell was greatly influenced by his aunt, Rose Gonzales, and was futher encouraged by Dora Tse Pe. Like Russell,
Dora is also a perfectionist. But Russell is really a self-taught potter. His incising, carving, and polishing techniques are all his own -
developed and evolving over many years of hard work. His work is widely accepted by serious collectors of some of the finest Native
American pottery made today. He often introduces different materials into the clay while staying within the traditional construction
and firing techniques of pueblo pottery. Russell has won numerous awards and honors in juried shows every year since 1978. He
has works in the permanent collections of the Smithsonian Institute, the Millicent Rogers Museum, the Museum of Indian Arts and
Culture (Santa Fe) and the Museum of Natural History (Los Angeles). (From www.nativepots.com) (North side of upper lobby)
Russell Sanchez was born at the San Ildefonso Pueblo. He has continued to live there all his life. Russell started making pottery at a
very young age. If you could see his pots from when he was thirteen or so - you would be able to tell that a great talent was
emerging! Russell was greatly influenced by his aunt, Rose Gonzales, and was futher encouraged by Dora Tse Pe. Like Russell,
Dora is also a perfectionist. But Russell is really a self-taught potter. His incising, carving, and polishing techniques are all his own -
developed and evolving over many years of hard work. His work is widely accepted by serious collectors of some of the finest Native
American pottery made today. He often introduces different materials into the clay while staying within the traditional construction
and firing techniques of pueblo pottery. Russell has won numerous awards and honors in juried shows every year since 1978. He
has works in the permanent collections of the Smithsonian Institute, the Millicent Rogers Museum, the Museum of Indian Arts and
Culture (Santa Fe) and the Museum of Natural History (Los Angeles). (From www.nativepots.com) (North side of upper lobby)
| Ron Martinez Looking Elk Ancestor Pot |
| Daryl Candelaria Shard Pot |
Daryl Candelaria “shard” pottery – San Filepe
Daryl Candelaria is a relatively new potter on the Rio Grande scene. Already, he is an award winning artist, having won a first in class and a first in
division at the 1999 Indian Market. He also has won firsts at the Eight Northern Pueblos show. Daryl worked at the School of American Research in
Santa Fe. There, he studied SAR's collection of contemporary and historic pottery, and shards from prehistoric pottery. He uses these patterns in his
"sampler" style jars. In these particular jars he has represents shards from all from prehistoric references—Anasazi, Hohokam, pinch pots, Kayenta,
Mimbres, etc., and even kiva murals from Pottery Mound, NM. He is now working for the San Felipe tribal government. (West side of lower lobby)
Ron Martinez pottery
"I graduated from the Institute of American Indian Art (IAIA) and Preston Duwaney, a Hopi artist, was my teacher and he taught me the sacredness of
clay. He taught me how to prepare it, how to gather it, but most importantly he taught me that the mother earth, our earth mother, is very precious and in
order to gather the clay you have to ask permission. So as related to the natural world, there's a process with prayer and preparation so I do things like
my ancestors did traditionally, like my great-great-great grandmother, she made pottery. It's all coiled, hand built. I stone polish, I fire and I etch on it. I'm
pretty well known for the color of my pottery and the etchings I do. It's kind of like petroglyph designs with my own stories on it. When I graduated from
IAIA my grandfather told me I wasn't allowed to use images from my pueblo because they weren't mine to give away. So I had to recreate my own
mythology, my own history. What I came up with is the same but different in terms of styles and designs and patterns. It's really my own spin on things
but I am always complemented when pueblo people walk up to my work and they get it. They understand what I'm saying because it's really my story, I've
just recreated the images." from an interview with Ron Martinez
Daryl Candelaria is a relatively new potter on the Rio Grande scene. Already, he is an award winning artist, having won a first in class and a first in
division at the 1999 Indian Market. He also has won firsts at the Eight Northern Pueblos show. Daryl worked at the School of American Research in
Santa Fe. There, he studied SAR's collection of contemporary and historic pottery, and shards from prehistoric pottery. He uses these patterns in his
"sampler" style jars. In these particular jars he has represents shards from all from prehistoric references—Anasazi, Hohokam, pinch pots, Kayenta,
Mimbres, etc., and even kiva murals from Pottery Mound, NM. He is now working for the San Felipe tribal government. (West side of lower lobby)
Ron Martinez pottery
"I graduated from the Institute of American Indian Art (IAIA) and Preston Duwaney, a Hopi artist, was my teacher and he taught me the sacredness of
clay. He taught me how to prepare it, how to gather it, but most importantly he taught me that the mother earth, our earth mother, is very precious and in
order to gather the clay you have to ask permission. So as related to the natural world, there's a process with prayer and preparation so I do things like
my ancestors did traditionally, like my great-great-great grandmother, she made pottery. It's all coiled, hand built. I stone polish, I fire and I etch on it. I'm
pretty well known for the color of my pottery and the etchings I do. It's kind of like petroglyph designs with my own stories on it. When I graduated from
IAIA my grandfather told me I wasn't allowed to use images from my pueblo because they weren't mine to give away. So I had to recreate my own
mythology, my own history. What I came up with is the same but different in terms of styles and designs and patterns. It's really my own spin on things
but I am always complemented when pueblo people walk up to my work and they get it. They understand what I'm saying because it's really my story, I've
just recreated the images." from an interview with Ron Martinez
Turtles – by Randall Chitto
In Randall Chitto's Choctaw tribe, the turtle is considered to be the keeper of stories and of history. "Slowly walking back and forth, the turtle fills the gap
between now and then, telling us what we need to know. Their hard shells protect them from evil influences. They keep everything inside and practically
live forever. Nothing can take away their stories." Randall has been making art since he was a little boy drawing designs in the smooth, bare dirt under
the porch of his home in Mississippi. "I never wanted to be a doctor or lawyer. It was always just art. I could feel something inside me wanting and
needing to be expressed." Source (West side of lower lobby)
In Randall Chitto's Choctaw tribe, the turtle is considered to be the keeper of stories and of history. "Slowly walking back and forth, the turtle fills the gap
between now and then, telling us what we need to know. Their hard shells protect them from evil influences. They keep everything inside and practically
live forever. Nothing can take away their stories." Randall has been making art since he was a little boy drawing designs in the smooth, bare dirt under
the porch of his home in Mississippi. "I never wanted to be a doctor or lawyer. It was always just art. I could feel something inside me wanting and
needing to be expressed." Source (West side of lower lobby)
| Helen Gachupin - Zia |
| Carmel Lewis - Zia |
| Sofia Medina - Zia |
Crow Mother and Zia pot - Kathleen (Cathy) Sanchez, New Mexico
The Crow Mother Kachina (Angwusnasomtaka) is a figure of great dignity and considered by many Hopi to be the Mother of all Kachinas. She appears on
all three mesas and supervises the initiation of the children into the Kachina cult. Later in the ceremony, she leads other Kachinas into the village holding a
basket of corn kernels and bean sprouts, or in this case wheat stalks, to start the new season properly.
Zia Pottery
The best-known southern pueblo for its pottery is Zia Pueblo on the Jemez River west of the Rio Grande. The reason Zia pottery and motifs are so familiar
and influential is the pueblo has long produced pottery for trade with others. Its motifs can often be recognized in the painting of pottery from neighboring
pueblos. One of the distinctive marks of a Zia pot is the Zia bird, painted on much of its pottery. The bird may or may not have a split tail but has a straight
beak. Another recognizable element is a single or double band, which runs from the top of the pot to the lower area. It is frequently called the "rainbow
band." Flower motifs are also popular. Zia pottery, with its animal and flower images, strikes many as the most whimsical, fun pottery. Zia pottery can also
be seen in the painting by Kathleen Sanchez of New Mexico entitled “Crow Mother Kachina and Zia Pot” (West side of lower lobby)
The Crow Mother Kachina (Angwusnasomtaka) is a figure of great dignity and considered by many Hopi to be the Mother of all Kachinas. She appears on
all three mesas and supervises the initiation of the children into the Kachina cult. Later in the ceremony, she leads other Kachinas into the village holding a
basket of corn kernels and bean sprouts, or in this case wheat stalks, to start the new season properly.
Zia Pottery
The best-known southern pueblo for its pottery is Zia Pueblo on the Jemez River west of the Rio Grande. The reason Zia pottery and motifs are so familiar
and influential is the pueblo has long produced pottery for trade with others. Its motifs can often be recognized in the painting of pottery from neighboring
pueblos. One of the distinctive marks of a Zia pot is the Zia bird, painted on much of its pottery. The bird may or may not have a split tail but has a straight
beak. Another recognizable element is a single or double band, which runs from the top of the pot to the lower area. It is frequently called the "rainbow
band." Flower motifs are also popular. Zia pottery, with its animal and flower images, strikes many as the most whimsical, fun pottery. Zia pottery can also
be seen in the painting by Kathleen Sanchez of New Mexico entitled “Crow Mother Kachina and Zia Pot” (West side of lower lobby)
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Nathan Youngblood pottery
Nathan is a sixth generation potter and grandson of Margaret Tafoya. As his father was in the military, Nathan grew up traveling around the world. When
he finally returned home to Santa Clara, he learned to make pottery by watching Margaret and her husband, Alcario. Nathan remembers his mother
(Mela) and grandmother telling him, "that clay wasn’t something you play with, that it is serious business. The clay is a gift; it is a privilege that the Clay
Mother gives us, and we are very fortunate. You can’t be good if you just play with it. You have to totally commit yourself". Nathan adheres to all the
traditional aspects of making a bowl. The clay is gathered from the foothills around Santa Clara. The bowl is formed from this clay, and then left to dry,
which can take up to a month. The design is then penciled onto the clay and Nathan begins to carve into the clay with a knife blade and a series of small
screwdrivers. The piece is then sanded and the slip is applied and stone polished. Each piece is individually fired in a special shed Nathan has
constructed. After the firing, there is still more work, as the red pieces require up to additional ten or fifteen hours of cleaning making them ready for sale!
Nathan’s pottery is among the most sought after by collectors. His pieces can be found in the permanent collection of museums around the world.
Recently, one of his large vases was made part of the White House Collection of American Crafts. (West side of upper lobby)
Alton Komalestewa pottery
"Alton Komalestewa is son-in-law to the famous Santa Clara potter - Helen Shupla. Helen was credited with devising the technique of "pushing out" the
sections from the inside of the bowl. What makes this style different from most Santa Clara melon bowls, is that the inside is not smooth, but it follows the
shape of the grooves on the outside. Her melon pots appear on the cover of the book Talking With the Clay.
Alton is also the youngest son of Austin Komalestewa and Emily Shupla. As a Hopi, he is also related through his father to Nampeyo, Alton's great
grandmother. He never learned to pot while growing up at Hopi Pueblo. Alton married Helen's daughter, Jeannie, and they moved to Santa Clara Pueblo
in the early 1970' where he learned this special technique from her.
In 1989, both Jeannie and Helen passed away, and Alton moved back to Hopi. There he continued to produce pottery in the Helen Shupla style, only with
Hopi clay. Recently (2001) he has returned to the Santa Clara Pueblo area and is again potting with local clays and slips. His magnificent pots are the
only heirs to melon pots made famous by Helen Shupla and are among the finest pots being made today and are widely collected.
Alton Komalestewa is featured in "The Legacy of Master Potter Nampeyo" by Mary Ellen & Laurence Blair on pages 202-203, in "Treasures of the Hopi"
by Theda Bassman on page 78 and in "Hopi-Tewa Pottery" by Gregory Schaaf on page 59." Source
Nathan is a sixth generation potter and grandson of Margaret Tafoya. As his father was in the military, Nathan grew up traveling around the world. When
he finally returned home to Santa Clara, he learned to make pottery by watching Margaret and her husband, Alcario. Nathan remembers his mother
(Mela) and grandmother telling him, "that clay wasn’t something you play with, that it is serious business. The clay is a gift; it is a privilege that the Clay
Mother gives us, and we are very fortunate. You can’t be good if you just play with it. You have to totally commit yourself". Nathan adheres to all the
traditional aspects of making a bowl. The clay is gathered from the foothills around Santa Clara. The bowl is formed from this clay, and then left to dry,
which can take up to a month. The design is then penciled onto the clay and Nathan begins to carve into the clay with a knife blade and a series of small
screwdrivers. The piece is then sanded and the slip is applied and stone polished. Each piece is individually fired in a special shed Nathan has
constructed. After the firing, there is still more work, as the red pieces require up to additional ten or fifteen hours of cleaning making them ready for sale!
Nathan’s pottery is among the most sought after by collectors. His pieces can be found in the permanent collection of museums around the world.
Recently, one of his large vases was made part of the White House Collection of American Crafts. (West side of upper lobby)
Alton Komalestewa pottery
"Alton Komalestewa is son-in-law to the famous Santa Clara potter - Helen Shupla. Helen was credited with devising the technique of "pushing out" the
sections from the inside of the bowl. What makes this style different from most Santa Clara melon bowls, is that the inside is not smooth, but it follows the
shape of the grooves on the outside. Her melon pots appear on the cover of the book Talking With the Clay.
Alton is also the youngest son of Austin Komalestewa and Emily Shupla. As a Hopi, he is also related through his father to Nampeyo, Alton's great
grandmother. He never learned to pot while growing up at Hopi Pueblo. Alton married Helen's daughter, Jeannie, and they moved to Santa Clara Pueblo
in the early 1970' where he learned this special technique from her.
In 1989, both Jeannie and Helen passed away, and Alton moved back to Hopi. There he continued to produce pottery in the Helen Shupla style, only with
Hopi clay. Recently (2001) he has returned to the Santa Clara Pueblo area and is again potting with local clays and slips. His magnificent pots are the
only heirs to melon pots made famous by Helen Shupla and are among the finest pots being made today and are widely collected.
Alton Komalestewa is featured in "The Legacy of Master Potter Nampeyo" by Mary Ellen & Laurence Blair on pages 202-203, in "Treasures of the Hopi"
by Theda Bassman on page 78 and in "Hopi-Tewa Pottery" by Gregory Schaaf on page 59." Source
Jody Naranjo pottery
"Jody Naranjo is one of the most talented and innovative of the new generation Santa Clara potters. She is successful in blending traditional and
contemporary art forms by carving contemporary images onto tradionally made pottery. Jody etches whimsical designs with an Exacto knife into the clay
surface of her pots. Many of her pots tell stories which come from personal experiences. For example, when growing up Jody's grandmother would tell to
not look at the serpent when she went down to the river to play. In remembrance of this Jody carved a pot called Don't Look at the Serpent, on which all the
people had their eyes covered so as not to see the serpent. While Jody's pots include non-traditional images, she makes her pots exactly the same way her
ancestors did for generations. Jody mines and mixes her own clay, does her own firing and still uses her great grandmothers polishing stone.
Jody grew up in a large family of celebrated potters and knew early on she wanted to work with clay. Growing up with over 20 family members who made
pottery, she knew the entire process by the time she was 6 years old. This early knowledge and the initimidation of being surrounded by the talented family
members, resulted in Jody pushing herself to be as good as she could be. Her efforts were rewarded in a fellowship she received at the age of 19 from the
Southwest Association of Indian Arts and in 1992 she won the first place award for contemporary scraffito at Indian Market.
Jody continues to produce new designs and shapes. Most recently she has participated with other highly regarded potters in a workshop where they share
ideas, techniques and material with each other. Forever striving to be on the forefront of Native American art, Jody Naranjo continues to succeed at
producing pottery which blends the traditional and contemporary." - Source
"Jody Naranjo is one of the most talented and innovative of the new generation Santa Clara potters. She is successful in blending traditional and
contemporary art forms by carving contemporary images onto tradionally made pottery. Jody etches whimsical designs with an Exacto knife into the clay
surface of her pots. Many of her pots tell stories which come from personal experiences. For example, when growing up Jody's grandmother would tell to
not look at the serpent when she went down to the river to play. In remembrance of this Jody carved a pot called Don't Look at the Serpent, on which all the
people had their eyes covered so as not to see the serpent. While Jody's pots include non-traditional images, she makes her pots exactly the same way her
ancestors did for generations. Jody mines and mixes her own clay, does her own firing and still uses her great grandmothers polishing stone.
Jody grew up in a large family of celebrated potters and knew early on she wanted to work with clay. Growing up with over 20 family members who made
pottery, she knew the entire process by the time she was 6 years old. This early knowledge and the initimidation of being surrounded by the talented family
members, resulted in Jody pushing herself to be as good as she could be. Her efforts were rewarded in a fellowship she received at the age of 19 from the
Southwest Association of Indian Arts and in 1992 she won the first place award for contemporary scraffito at Indian Market.
Jody continues to produce new designs and shapes. Most recently she has participated with other highly regarded potters in a workshop where they share
ideas, techniques and material with each other. Forever striving to be on the forefront of Native American art, Jody Naranjo continues to succeed at
producing pottery which blends the traditional and contemporary." - Source
| Grandfather of potter Russell Sanchez |
Lydia and Pabla Quesada - Nicholas Quezada "Mata Ortiz" pottery
"Mata Ortiz pottery, or Casas Grandes , is one of the finest and most innovative ceramics in the world.
Led by Juan Quezada, the entire pueblo of Mata Ortiz creates outstanding handmade, coiled pots or ollas, following centuries old methods.
Inspired by the Paquime, Casas Grandes ceramics, the potters of Mata Ortiz create contemporary works of art, often incorporating Mimbres designs
shared by the Southwest, Native American cultures.
With an olla as their canvas, the potters of Mata Ortiz have imprinted in them not only re-creations of ancestral symbols, but they have searched within
their own spirit and creativity and have been able to conceive a unique artistic language, creative and original. They have gone through the imitation of
pre-Hispanic ceramics, and have moved on to a sophisticated creation of contemporary art." Source
Maria and Santana, San Ildefonso pottery
"Maria's fascination with pottery-making started at a young age, when she would watch her aunt making pots, after her chores were done. Although many
women in the pueblo knew how to make pottery, by Maria's time it was no longer a necessary part of daily life. Inexpensive Spanish tinware and Anglo
enamelware had replaced traditional containers and cooking pots. In many ways, the art of pottery making was facing extinction. Fortunately, Maria's
interest and willingness to experiment with techniques prevented this from occurring.
After her husband Julian's death in 1943, Maria began working with her daughter-in-law Santana. Santana provided the painted decoration that was her
father-in-law's legacy. After 1956, Maria also worked with her son Popovi Da. It was Popovi who helped market her work, building a shop at the pueblo and
speaking about the pottery tradition of San Ildefonso at lectures across the country. One of the family's most innovative potters is Maria's grandson Tony
Da. Tony combined sculptural techniques with traditional forms to create unique forms. Due to a motorcycle accident, Tony no longer makes pottery, but
he continues to work as a painter. Many other family members and people from San Ildefonso continue to make pottery, carrying on the tradition so
openly shared by Maria.
Maria signed her pieces several different ways over the course of her life, and to some extent, these signatures can help to date her work. At first, she
signed her pots "Marie" because she was told that this name would be more familiar to those who would buy her work. Through the years her pieces were
signed "Poh ve ka," "Marie," "Marie & Julian," "Marie & Santana," "Maria Poveka," and "Maria/Popovi." Source and more
"Mata Ortiz pottery, or Casas Grandes , is one of the finest and most innovative ceramics in the world.
Led by Juan Quezada, the entire pueblo of Mata Ortiz creates outstanding handmade, coiled pots or ollas, following centuries old methods.
Inspired by the Paquime, Casas Grandes ceramics, the potters of Mata Ortiz create contemporary works of art, often incorporating Mimbres designs
shared by the Southwest, Native American cultures.
With an olla as their canvas, the potters of Mata Ortiz have imprinted in them not only re-creations of ancestral symbols, but they have searched within
their own spirit and creativity and have been able to conceive a unique artistic language, creative and original. They have gone through the imitation of
pre-Hispanic ceramics, and have moved on to a sophisticated creation of contemporary art." Source
Maria and Santana, San Ildefonso pottery
"Maria's fascination with pottery-making started at a young age, when she would watch her aunt making pots, after her chores were done. Although many
women in the pueblo knew how to make pottery, by Maria's time it was no longer a necessary part of daily life. Inexpensive Spanish tinware and Anglo
enamelware had replaced traditional containers and cooking pots. In many ways, the art of pottery making was facing extinction. Fortunately, Maria's
interest and willingness to experiment with techniques prevented this from occurring.
After her husband Julian's death in 1943, Maria began working with her daughter-in-law Santana. Santana provided the painted decoration that was her
father-in-law's legacy. After 1956, Maria also worked with her son Popovi Da. It was Popovi who helped market her work, building a shop at the pueblo and
speaking about the pottery tradition of San Ildefonso at lectures across the country. One of the family's most innovative potters is Maria's grandson Tony
Da. Tony combined sculptural techniques with traditional forms to create unique forms. Due to a motorcycle accident, Tony no longer makes pottery, but
he continues to work as a painter. Many other family members and people from San Ildefonso continue to make pottery, carrying on the tradition so
openly shared by Maria.
Maria signed her pieces several different ways over the course of her life, and to some extent, these signatures can help to date her work. At first, she
signed her pots "Marie" because she was told that this name would be more familiar to those who would buy her work. Through the years her pieces were
signed "Poh ve ka," "Marie," "Marie & Julian," "Marie & Santana," "Maria Poveka," and "Maria/Popovi." Source and more