Clarence Cruz is from Ohkay Owingeh, formally known as San Juan Pueblo which is part of the Eight Northern Pueblos along the Rio Grande. He is a graduate of the University of New Mexico with a BFA/MFA in Studio Arts. He also received a Minor in Museum Studies through his internship at the Maxwell Museum of Anthropology at the University of New Mexico.
In 2007 he was hired as a Consultant Curator for the Inaugural Exhibition for the Alfonso Ortiz Center, Maxwell Museum of Anthropology, University of New Mexico. Currently he is an Assistant Professor in the Art Department at the University of New Mexico, where he instructs Under Graduate and Graduate level students. He is Chair and committee member for many of the Graduate students in the Art Department and sits on different committees as well.
Through his continued contribution in his works as an Artist in pottey and contribution to the Tradition of Pueblo Pottery, he was honored with”THE LIFETIME ACHIEVEMENT ALLAN HOUSER LEGACY AWARD 2012, HONORING PUEBLO POTTERS, SWAIA SANTA FE INDIAN MARKET”. As a potter his work consists of traditional pottery of Ohkay Owingeh, which are of six (6) different styles of pottery (black on black/matte, Potsuwi’i incised, black on white, polychrome, polychrome carved, and micaceous). His pottery can be functional or nonfunctional. He works with raw materials that he gathers from different sites, which are clays, slips mineral pigments, volcanic ash and vegetal plants (Bee weed/Spinach) used to paint with to create black or as a binder. He does three different types of firings; (1) an open firing, where the flames are allowed to touch the pots and the results are fire clouds, (2) an oxidation firing, where the pots are shielded from the flames and a clean firing is achieved to get the true color of the clay body, slips, mineral paint, and vegetal paint, (3) reduction firing, where the pots are turned black, depriving the clay pot (s) of oxygen carbonizing it.
Through his continued education he has had the honor to share his knowledge and expertise with the neighboring Pueblo tribal members, who want to carry on the tradition of pottery making within their families and Pueblos from which she or he originates. Today Clarence is active at various levels of higher educational learning outside of the University of New Mexico, such as the Santa Fe Community College, in the Department of Art and Design at UNM Gallup Branch, at Ghost Ranch, Yale, Washinton & Jefferson College, and Jingdezhen Ceramic Institute, China.
Irene Aguilar Alcantara (daughter of Isaura and Jesus)
Irene Aguilar, third daughter of Isaura and Jesus, is known for her vivacious and imaginative spirit throughout her work. She is known for her individual ceramic pieces such as musicians, devils, monks, "women of the night", "Catrinas" -elegantly dressed female figures for Day of the Dead, and "Fruteros"- fruit bowls on the lips of which sit ain array of figures including lovers, the Three Kings and "Muertos" -skeleton figures engaged in human activities. In addition, she creates spectacular larger works, such as complex market scenes and flower stands with multiple parts.
Isaura Alcantara Diaz (who died in 1969 at the early age of 44) was the innovator-in collaboration with her husband, Jesus Aguilar Revilla-of an important and delightful genre of ceramics. He often sketched and painted creating new designs, some of which Isaura carried out. Departing from the utilitarian objects produced by their contemporaries in Ocotlan de Morelos (Oaxaca), they introduced decorative human figures. These imaginatively captured the daily activities, passionate expressiveness and cultural richness of pueblo life. Her highly detailed, colorfully painted human figure embodied its vitality figure embodied its vitality, depth, emotion and pulse. Women in indigenous garb were portrayed in every aspect of life: transporting their wares and possessions, displaying and selling their produce at market, nursing their babies, arranging their flowers, attending funerals and weddings, praying, sitting on park benches with their "enamorados" (romantic loved ones), and celebrating fiestas.
Isaura and her husband had a profound influence on the creative lives of all four of their daughters, Guillermina, Josefina, Irene and Concepcion (eldest to youngest), who in turn inspired their own children and grandchildren.
Santa Fe based plein air oil painter Sarah Grenzeback is inspired to get out her palette knife and easel by the open skies, pure light, and rich colors of the wild New Mexico landscape. She paints on site typically in one session, seeking to capture the moment … before the sun moves, or it starts raining.
Since she was little, Sarah always wanted to be a painter like her grandmother. She studied art and oil painting at Brown University, the Rhode Island School of Design, The Art League School of Alexandria, VA, and with local New Mexico plein air artists Michelle Chrisman and Chuck Volz. She also has a masters in Art Therapy from Southwestern College in Santa Fe, and is a practicing therapist. She is grateful to her parents for moving to Abiquiu, NM – the greatest plein air painting paradise there is.
Using a combination of carved & painted wooden forms, aged metal, found objects and various bits, I seek narrative in my sculptural work. At times literal and sometimes abstract, the “stories” the artwork tells can come across as apparent or obscure. Influenced by outsider and folk art, I strive for a union between the humorous and the dark, which reflects my personal view of the world. The work rarely edifies or draws conclusions: I prefer to pose the questions and stand back. The resulting playfulness of this approach is balanced by the grittiness of my materials.
Raised in the wilds of blue-collar New Jersey, I attended art school in NYC, moving there for the art scene. I spent years in NYC, eventually finding urban life overwhelming. I left Soho, returned to NJ and began to work with found materials (influenced by a Dad who saved everything), combining these bits and pieces with painting, carving and welding.
I married, bought a home and settled into domestic life. I began showing work nationally. I won a state fellowship, which temporarily freed me from part-time jobs. Selling work from both studio and gallery also helped with finances.
A divorce, my parents’ passing and a milestone birthday prompted a move west to New Mexico. These days, I work outside of Santa Fe. The effort spent making art is like breathing rather than a chore-not always pure joy, but never far from it.
Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground.
I absolutely love working with clay. The familiar action of grabbing a chunk of moist earth settles my heart and brings me home. I build each piece by hand, pinch and coil, watching the form take shape inch by inch. The slight texture on the surface reveals this process of handbuilding. Throughout my work, pieces are composed of several stacking parts; each head lifts up to reveal treasures within the vessel of the body. I tend not to overly define the form so there’s a lot of space for the image to arise in the painting of a figure. If every detail were put down in the clay, then the glazing process would be more like filling in a coloring book versus painting an open canvas.
The surface of each piece is decorated with layers of slips, underglazes, stains and oxides, all applied before firing. By painting the glaze on raw clay, I have the liberty to work and rework a piece, scratching into the clay or scratching off a design to begin anew. I am constantly mixing colors or layering slips in new ways, so there are always surprises when it’s time to unload the kiln. How wonderful that after all my hours of work, the fire gets the final say.
My artwork is where I know how to smile at the unknown and delight in the gap between what I think I’m going to do and what actually happens. In that space is all the magic. It’s the crack where mystery seeps in and new ideas are born. Studio is a world unto itself for me, where I can manifest joy and create a world of beauty and delight. I feel so blessed to do what I love.
David Parsons was born in Ashland, Oregon and says he was "raised in a sawmill" in the Siskiyou Mountains, where he acquired a "taste for wood." Parsons studied art for two years at Southern Oregon State University, worked briefly on a Swedish freighter taking a shipload of lumber to Italy, and upon returning to the states, took up residence in Santa Fe, New Mexico, where he has lived since 1973. Because of his ingrained interest in wood, and its possible use in decorative and architectural
elements, Parsons took up the mallet and chisel to try carving and has been carving bas relief for thirty years.
LeeAnn Herreid's jewelry is something the post modern traveler should not be without compass rings and pendants set in sterling silver ensure you'll never lose your way. Spirit Level rings, earrings and necklaces keep in balance, thermometer earrings keep you cool. These are just some of the pieces in Herried's line of functional, innovative jewelry.
Her pieces have been praised internationally, featured in numerous magazines. Herreid has also received enthusiastic letters from grateful Individual Icon owners who, finding themselves lost, have turned to their compass jewelry to help find their way.
Herreid, a 1991 graduate of the Rhode Island School of Design with a BFA in jewelry & light metals, found her calling early in life. At age 14, her fascination with metalwork was fostered by her Concord MA art teacher who, quick to recognize her talent , volunteered her own torch and took the time to teach LeeAnn to solder. Two short years after graduating from RISD Herreid founded her company Individual Icons. The name goes right to the point of Herreid's art: jewelry that gives the wearer an expression of personal meaning through functionality. Her Individual Icons are both symbolic and beautiful.
Biography - Leovigildo Martinez was born in the city of Oaxaca Mexico on May 14, 1959. He began his studies in 1977 at the Centro de Education Artistico de Oaxaca, and studied at the Taller de Artes Rufino Tamayo as well.
1977-1981 CEDART (Centro de Educación Artística), Oaxaca, Oax.
1977-1982 Taller “Rufino Tamayo”. Oaxaca, Oax.
2006 “Fiesta del rumbo”, Índigo Galería Valle de Bravo, Estado de México, Méx.
2005 “Horizontes de abajo”, Índigo Galería, Oaxaca, México.
2003 “Después de los Nombres”, Galería Anwander, Viena, Austria.
2002 “Cansados pero contentos”, Santa Fé, Nuevo México, USA.
“Detrás de las nubes”, Grupo Filios, Monterrey, N.L., México.
2001 “Sombras y esqueletos”, Santa Fé, Nuevo México, USA.
“Carrera de Santos”, Grupo Filios, Monterrey, N.L., México.
2000 “Cuentos de Oaxaca”, Museo Centenario, Monterrey, N.L., México.
“A través del cuento”, Galería El Zócalo, Santa Fé, Nuevo México, USA.
“Obra reciente”, Grupo Filios, Monterrey, N.L., México.
1999 “Acuarelas y obras recientes”, Museo el Centenario, Monterrey, México.
1998 Galería El Zócalo, Santa Fe, Nuevo México, USA.
1997 Galería Amadeus, Monterrey, N. L.
Galería El Zócalo, Santa Fé, Nuevo México, USA.
Museo de Arte de Loovuck, Texas, USA,
1996 “Historias de Oaxaca”,Galería El Zocalo. Santa Fé, Nuevo México. USA
1995 Exposición Privada, Los Angeles, CA.
1994 Exposición Privada, Cupertino, CA
Exposición Privada, Tokio, Japón.
1993 Exposición Privada, Los Angeles, CA.
1990 Galería LW, México, D.F,
Galería Chapultepec, México, D.F.
1989 Galería Orsay, México, D.F.
Colegio de las Américas, México, D.F.
1988 “Cambio de Piel”, Hotel Presidente, Oaxaca, Oax.
1986 Galería del Auditorio Nacional, INBA, México, D.F.
Galería C.A., Oaxaca, Oax.
Galería Rubicón, Los Altos, CA, U.S.A.
Galería Tierra Adentro, INBA, México, D.F.
“The great Frame Up”, Santa Clara, CA, U.S.A,
1985 Galería Miguel Cabrera, Oaxaca, Oax.
Casa de la Cultura, Oaxaca, Oax.
1983 Casa de la Cultura, Córdoba, Veracruz.
1982 Casa de la Cultura, Tuxtepec, Oax.
2005 “Collecting Latin American Art”, Mexic-Arte Museum, Austin, Texas, E.U.A.
2004 “Colores de mi Tierra”, Museo de los Pintores Oaxaqueños, Oaxaca, México.
“Simbiosis”, Galería Índigo Torre Perisur, México, D.F.
2002 “Encuentros y Reencuentros”, Arte contemporáneo de Oaxaca, Torre Perisur, México, D.F.
“Cuatro direcciones del Viento”, Galería Anwander, Viena, Austria.
2001 “Arte contemporáneo de Oaxaca”, Hotel Camino Real, Cancún, Quintana Roo, México.
Galería Veryka, San José de Cabo, B.C.S.
2000 “San Agustín 2000”, Oaxaca, México.
Galería Indigo, Oaxaca,México.
Muestra pictórica de Oaxaca, México.
1999 “Génesis del Universo”, Monterrey, N.L.
Galería Arte Mexicano de Antequera, Oax., Oax.
1998 Galería Bertha Schwarstein, Cd. De México.
Instalaciones “En distancia”, Zacatecas, Oaxaca, Celaya, México.
1998 Exposubasta Banamex, Monterrey, México.
Beneficio del Hospital Infantil, Oaxaca, México.
1997 “Presencia de 5 artistas latinos”, Galería Borpal, San Francisco, CA, USA.
“20 Artistas Contemporáneos de Oaxaca”, Club de industriales de Jal. Guadalajara, Jal.
Galería Índigo. San Miguel de Allende, Gto.
1996 “Día de muertos, memoria y ritual”,Instituto de Arte, Minneapolis, USA.
Exposubasta de Arte y Diseño, sala Manuel M. Ponce, Palacio de Bellas Artes, México, D.F.
Exposición itinerante en veinte museos de diferentes ciudades de USA .
Galería Borpal, San Francisco, CA. USA.
Galería Aura, México, D.F.
Galería Arte Mexicano de Antequera, Oaxaca, México.
1995 Galería Centro, Washington, San Francisco, CA, USA
Palacio de Bellas Artes, México, D.F.
Novena Bienal Iberoamericana, México, D.F.
Instituto de Arte de Chicago, Chicago, IL, USA.
“Cada Pintura dice una Historia”, Los Angeles, CA, USA.
Galería Arte Mexicano de Antequera, Oaxaca, México.
1994 “Pinturas originales de los cuentos”, Los Angeles, CA, USA.
Galería Arte de Oaxaca, Oaxaca, México.
Galería Beaford, Walnut Creel, CA, USA.
1993 Museo de Arte Mexicano de Chicago. Exposición itinerante, Minneapolis Cleveland y Phoenix.
Galería Arte de Oaxaca, Oaxaca, México.
1992 Galería Arte de Oaxaca, Ciudad de Oaxaca.
“Magical Memory”, Santa Fé, Nuevo México, USA.
1991 Galería Arte de Oaxaca, Oaxaca, México.
1990 Galerías Kashan, Hotel Nikko, México, D.F.
Centro Cultural “José Guadalupe Posada”, México, D.F.
1989 Galería Terracota, Oaxaca, México.
Galería Orsay, México, D.F.
Centro Cultural “José Guadalupe Posada”, México, D.F.
Museo de la Ciudad, Oaxaca, México.
1988 Galería Arte de Oaxaca, Oaxaca, México.
Galería Quetzalli. Oaxaca, Oax,
Galería La Mano Mágica, Oaxaca, México.
Galería Arte Fax, Mountain View, CA, USA.
Galería Aura, México, D.F.
1987 Galería “C.A.”, Oaxaca, México.
Casa de la cultura de Oaxaqueña, Oaxaca, México.
1986 Galería Miguel Cabrera, Casa de la Cultura Oaxaqueña, Oaxaca, México.
1985 Galería Aleph, México, D.F.
Galería el Baúl, Casa de la Cultura Oaxaqueña, Oaxaca, México.
1984 “Artes Visuales Oaxaca 84”, Concurso auspiciado por la Casa de la Cultura Oaxaqueña, Primer Premio, Oaxaca, México.
1983 Casa de la Cultura Oaxaqueña, Oaxaca, México.
1982 CONALEP, Tuxtepec, Oaxaca, México.
1981 FONAPAS, Ciudad de Oaxaca y Tierra Blanca, Veracruz, México.
1980 Exposición de Alumnos del Taller “Rufino Tamayo”. Ciudad de Oaxaca y Tuxtepec, Oaxaca, México.
1979 Exposición de Alumnos del CEDART, Oaxaca, México.
1977 Foro de Alumnos del CEDART, Guadalajara, Jal., México
Alumnos del Centro de Educación Artística de Oaxaca, Oaxaca, México.
*MURALES E ILUSTRACIONES*
“JUEGOS PERDIDOS”, Hospital Infantil de México Federico Gómez, México, D.F.
“LA FIESTA DE LA LUNA”, Mural en 4 cinco paneles. Café Pasqual’s, Santa Fe Nuevo México.
“LOS TATAMANDONES”, Mural. Colección Privada, Nueva York, N.Y.
“FAMILIA HERMANN”, Museo de Arte Latinoamericano, long Beach, CA
Galería el Zócalo, Santa Fe, Nuevo México.
1999 “RABBIT AND COYOYE”, Ed. Scott Foresman, N.Y. USA.
1998 “ENSAYO SOBRE LA PINTURA DE LEOVIGILDO MARTÍNEZ”, Por Luis Carlos Emerich, crítico de arte. Publicación en los libros de texto para la Educación primaria en el Estado de Oaxaca, México. Revista editada por la Universidad de México (julio-agosto).
1996 “UNCLE SNAKE”, Ed. Tambourine Books a Division o William Marrow & Company Inc., N.Y. USA.
1995 “RABRIT’S LAST RACE”, Ed. Silver Burdett Gin, Boston, Massachusetts, USA.
1994 “JEANNE’S DREAM”, Ilustración para acompañar un poema, poeta Myra Cohn-Livingston. Colección para lectura infantil Silver Burdett Ginn.
“FATHERS JOURNEY HOME”, serie de viñetas. Colección para lectura infantil Silver Burdett Ginn.
“LA LUNA SE FUE A UNA FIESTA”, Ed. Tambourine Books a Division o William Marrow & Company Inc., N.Y. USA.
1993 “VEINTICINCO GATOS MIXTECOS”, Ilustraciones del libro. Distinguido por la Sociedad de ilustradores de Nueva York como el mejor libro ilustrado de 1993. Ed. Tambourine Books a Division o William Marrow & Company Inc., N.Y. USA.
MUSEO DE ARTE LATINOAMERICANO. Punta del Este, Uruguay.
MUSEO DE ARTE MEXICANO DE CHICAGO. Chicago, IL.
MUSEO DE ARTE LATINOAMERICANO, Long Beach, CA
*Exhibitions* - Martinez has been included in a number of group shows since 1977, including the "Life, Legends and Dreams" show. A visit to California in 1987 led to a series of solo shows in Los Alto, Santa Clara and San Francisco.
*Publications* - Martinez has illustrated three children"s book (with author Matthew Gollub), The Twenty-five Mixtec Cats, The Moon Was at a Fiesta and Uncle Snake. The Cafe Pasqual's Cookbook featured the murals he painted in that celebrated Santa Fe restaurant.
I love to throw clay on a wheel and the meditative feel of centering. When the form is complete, I enjoy the surprise of seeing the finished piece. Nothing is for certain in ceramics. In whatever form the final firing takes, contingency is present. Copper may turn red or it may turn green. It is the elemental magic of fire. I am inspired by forms from ancient pottery and by everyday objects like old screwdriver handles and peppermills. My style is ever evolving. I work with several different kinds of clay. Pit fire, Raku, soda fire, high and low fire are all of interest to me.
I was born in San Rafael California in 1952. I grew up in Reno Nevada. As a child drawing was my entertainment and my refuge from a chaotic childhood. When I was thirteen my art teacher arranged for me to take summer art classes at the University of Nevada. I took Life Drawing, Art History and Ceramics. In my Ceramics Class I threw cylinders and made small pinch pot sculptures. We took field trips to dig clay. As an adult, my art education has taken place primarily in relation to other artists who have acted as mentors or as sounding boards. They have looked at my work and responded in deep and practical ways. It is my good fortune that these exchanges have happened naturally over time.
I have lived in Santa Fe for 35 years. During that time I’ve been in group shows at the Center for Contemporary Arts, Charlotte Jackson Fine Arts, Axle Contemporary, Peters Projects and Santa Fe Clay. In the past I worked as a decorative painter and then as a graphic designer.
Until recently the class that I took as a teenager was my only exposure to clay, but I feel as if the work that I have done in other mediums is feeding into my present work and I have come home to clay.
I have been showing and selling the things that I make in churches and bars, schools and hair salons, bathrooms and garage sales, flea markets state fairs, the World Financial Center, restaurants, weddings, parties of all sorts, museums, theaters, store windows, night clubs, diners, a candy store and even galleries.
Now a word about my choice of materials. I was taught by my parents to make stuff out of whatever I could get my hands on: it’s better than spending money on the habit, or sending the stuff to the landfill.
I once read the Chinese word for “paper is the root word for both “civilization” and “bureaucracy”. Our material culture is built at the expense of the lives of countless trees and by the exploitation of peoples, animals and the earth Herself. It hurts! The by-products of a system (any organic organization) are said to be indicative of the system’s health (or lack of ).
Once I was making a set of giant plastic dinosaurs on commission for a steakhouse (I used a lot of plastic back then because the rats and roaches would get into my paper stuff). The thought occurred to me that the plastic that I was using was probably made from fossil fuels. What was I doing? I was recycling dinosaurs! I’ve been told that people think of me when asked “paper or plastic?”
Santa Fe reawakened in me a sensitivity to dry, brittle things and an appreciation of the color brown. In my landscape work I try to heal a lot of scars. In this series I recycle paper, artistic conventions and my neuroses in another effort to order and reassemble my world. A friend likes to tell me that the Buddha said “life is suffering”. Another friend is fond of telling me “he who laughs, lasts!”
Walking into the predawn twilight of early morning on streets covered with abstract forms, I became aware of the shapes filling the cracks and voids with TAR. Using my iPhone, I took several individual photographs of different shapes and configurations.
Being a multi-disciplined artist working with abstraction forms I was overwhelmed with the end results of the images. Using the digital imaginary in Photoshop I was able to create these images, taking the viewer into another realm of reality.
This body of work incorporates 40 plus images.
Walter W. Nelson
Born and raised in Iowa, eldest of eight, educated catholic grade and high school graduated with a BA in English from University of Northern Iowa 1967-1971 taught high school in Iowa, junior high in Los Alamos, SFCC & IAIA in Santa Fe, Highlands in Las Vegas and workshops in book binding, letterpress and suminagashi kept a journal since age 19 / 1968 — a writing practice that has evolved from calligraphy taught by nuns to computers to printmaking to graphic design to letterpress to bookmaking to ceramics…… a visual language
SOME THOUGHTS ABOUT ART AND WHOLENESS IN LEARNING
a poem by William Stafford
A RITUAL TO READ TO EACH OTHER
If you don’t know the kind of person I am
and I don’t know the kind of person you are
a pattern that others made may prevail in the world
and following the wrong god him we may miss our star.
For there is many a small betrayal in the mind,
a shrug that lets the fragile sequence break
sending with shouts the horrible errors of childhood
storming out to play through the broken dyke.
And as elephants parade holding each other’s tail,
but if one wanders the circus won’t find the park,
I call it cruel and maybe the root of all cruelty
to know what occurs but not recognize the fact.
And so I appeal to a voice, to something shadowy,
a remote important region in all who talk:
though we could fool each other, we should consider —
lest the parade of our mutual life gets lost in the dark.
For it is important that awake people be awake,
or a breaking line may discourage them back to sleep;
the signals we give — yes or no, or maybe —
should be clear: the darkness around us is deep.
page 137 - The Crossing Point
selected talks and writings
I am a shepherd, chef, musician and craftsperson and currently the acting manager and Artist in Residence of Owl Peak Studios. If you buy mica clay from our studio, most likely I made it.
My micaceous clay cookware is dug, coiled, scraped and polished in the tradition of our Master potter the late Felipe Ortega from his family's clay pits. From Jicarilla Apache and Hispanic roots, Felipe continued the family tradition.
My pottery is born from a hopefulness in my hands, a grand old way of craftsmanship and the unimaginably profound potential of the original creative material - Earth.
Each vessel is made carefully, created in respect of tradition, integrity and attention to detail. With the help of few modern tools, the maker must be involved in every single little or large step in the process, each clay pot becomes is own being, entirely unique to all the others. I take great care in bringing every one of them to life. May this pottery bring great beauty to your kitchen and may this clay sit upon your table and contribute to the delicious smells, enjoyment and rich shine of daily life with you and your family.
I work exclusively with micaceous clay found in the Sangre de Cristos and San Juan mountains of northern New Mexico. This clay has been used for hundreds of years to make cook pots, seed jars, ceremonial vessels and figurines. I was taught the traditional coil and scrape method of pottery making by the late Master potter and Jicarilla Apache Medicine Man Felipe Ortega, whose ancestors began working the mica rich clay over 400 years ago. It is my intention to honor him, and preserve and carry forward these traditional techniques. Therefore, pottery wheels and glazes are not employed in the process. The clay tells me what direction to take. Then water, wind, stones, wood and fire all lead the way to a finished piece.
Felipe taught me to view mica pots not only as containers for food, but as containers and givers of life. “They are as beings, created by the union of clay and water by way of the potter's hands and thoughts, which are transferred to the vessel. When they are fired, they are born. When they are broken, they return to Mother Earth.” Understanding pottery from this perspective has made cooking in these vessels extremely satisfying for me. I am ever mindful of the elemental spirit that goes into the creation of a pot and how in turn the pot creates a sense of community when used to cook foods.
Mica in the clay body adds a sweet, earthy flavor to foods and allows one to use this cookware in the oven, the microwave and even on the stovetop. With proper care they can last for generations.
I’m a potter and teacher of this method. My studio is located in Canyon, Texas. Near the beautiful Palo Duro Canyon State Park.
"I have a small house and studio in the hills above Santa Fe. There is a pile of scavenged metal outside my studio, some old, some new. I keep my eyes open for materials on walks through the arroyos and across the hills-it's hard to beat a desert patina.
If someone is replacing an old metal roof, I will offer to haul some of it away. There is a bucket assigned to old tobacco cans from cowboy camps. Stamped metal ceiling tin remains part of my collection, awaiting a purpose.
I pass these salvaged treasures until their use in my artwork is clear, which can take years. My relationship with stacks is a comfortable one. There is no pressure to transform these objects. I know their time will come, and in the meantime, I keep my eye out for more."
Laura Dean was born in 1955 in Colorado and moved to Santa Fe New Mexico in 1988.
"Art saves lives" Carlos Glass
Carlos has a BA in Arts Education from Northern Arizona University
New Mexico Museum of Fine Arts, Santa Fe NM
Phoenix Art Museum, Pheonix Arizona
Drive by Rip-Off Art Exhibitions
He has lived in Santa Fe for many years.
Katharine Kagel is a mixed media artist whose mediums include: monoprint, collatype, lithography, ceramics, painting and drawings on paper. Steeped in fine arts and the culinary arts from birth, she sees little difference between the two paths. Kagel studied sumi-e, Japanese brush painting, while living in Japan and pursues the gestural in both works on paper as well as in the culinary arena. Studying the culture and the arts of Japan has had an enduring life-long impact on her aesthetics. Kagel is also the founder and Chef of Cafe Pasqual's. Kagel’s devotion to the arts in all its forms is why she opened Cafe Pasqual’s Gallery, which celebrates and exhibits a wide range of artists and diverse mediums.
Orion Langdon has been working with his hands all his life. He has spent time as a lobsterman, shepherd, cook, filmmaker, artist and writer. Under the guidance of renowned master potter Felipe Ortega, he discovered a deep love and respect for micaceous clay. Orion makes hand coiled cooking vessels and cups from micaceous clay harvested in the wild, generous mountains of his current home. Orion's work is one of many iterations of the ever evolving, centuries old tradition of pottery making in New Mexico. He strives to make work whose beauty does justice to its wild mountain origins and brings sustenance and vitality to people's homes.
Lee Onstott spent most of his career as a Civil Engineer working around the country in the highway industry. In 1991 he came to New Mexico as a highway engineer and has been here ever since. He is now retired as an engineer.
Lee took several wheel throwing pottery classes before taking his first micaceous pottery class in 2005 when he became "hooked". He took additional micaceous classes at Santa Fe Clay, and then at the Community College where he met the master micaceous potter, Felipe Ortega who became his teacher and mentor.
Lee's interest in micaceous pottery comes from the "hands on" method by which the pottery is made and fired. This use of natural materials to make pottery that is both functional and beautiful fits well with Lee's practical personality and training. Lee worked at Santa Fe Clay and Baca Street Pottery until he built a studio at his home where he can be found most days building and firing his micaceous pots.
Emily Swantner, native of Corpus Christi, Texas, moved to Santa Fe, New Mexico in December 2000, after having lived overseas for 12 years with her vagabond husband, George. She has always worked with her hands, first as a court reporter, then as a professional chef, and now as a micaceous potter.
It is believed that chefs make good potters and vice-versa. Emily took her first micaceous pottery class at Santa Fe Clay in the Spring of 2013 and has never looked back. In the summer of 2013, she studied with Felipe Ortega, Apache Medicine Man and Master Micaceous Potter, at Owl Peak Studio in La Madera, NM. Emily continues to take classes and creates “primitive” yet functional pottery.
Emily fashions her pots in the traditional “coil and scrape,” wood-fired manner taught by Felipe Ortega, which has been used in the American Southwest for more than 800 years. Each piece is uniquely shaped and is further distinguished by her personal mark – the loop with beads motif.
Emily’s pots are made from semi-rare micaceous clay, found only in certain regions and used since ancient times around the world. The mica allows the clay to expand and contract under the heat of cooking. Thus, micaceous clay pots can be used in the oven, on the stovetop, over a campfire, charcoal or gas grill. Emily encourages you to cook in her pottery as it creates a beautiful patina over time. Following a few simple care instructions will ensure a long life of use in your kitchen or simply admiring it as still life artwork.
Working with micaceous clay is calming and meditative. The process of physically connecting with the earth and being at the center of the intersection of earth, water, and fire gives me peace and a sense of place within the physical world. My perception is that in our modern world, it is far too easy to forget our bonds to Mother Earth, to simplicity and beauty, and to the sensual experience of cooking. With the creation and us e of these vessels, we have the opportunity to once again participate in and honor these and ancient ways.
I was fortunate enough to be introduced to technique, philosophy, and culture of the indigenous craft of micaceous clay pottery by two master potters: one is a Jicarilla Apache Medicine Man; the other is a Smithsonian Craft Show Award Winner.
From these initial experiences, I go forward with an attitude of discipline and respect for the spirit, craft, and artistic expression of this tradition. My own spirit continues to expand in the same connection our ancestors had with Mother Earth and our ancestors had with Mother Earth and I infuse my pots with this intention.
I create hand-built cooking vesselsand tableware wanting to share the beauty, magic, unique identity and sensual experience of each distinct pieces it exist in the juxtaposition of food, earth, and nourishment.
These vessels embody the spirit of ancient tradition in the here and now, carrying their own personality along with their historical lineage. My hope is that as you taste "The Land of Enchantment" in each dish you create in these pots, you harken back to your own connection with Mother Earth.
Alfred Blea was born and raised in Albuquerque, New Mexico. His family has been here for many generations. Nomadic by nature, Spirit guided him to Master potter Felipe Ortega in La Madera, New Mexico in 2011. Unbeknownst to him, pottery class began that Sunday; thus his relationship with Clay Mother commenced. Alfred was living in Oregon at the time, and had traveled many paths from the military, to massage therapy, to becoming a chef and Japanese knife marker. Every summer thereafter, Alfred returned to share studio space at Felipe's and cook for his many guests, students and devotees, while learning alongside his “maestro”.
Felipe Ortega guided and helped his technique through the years.
Alfred harvests, mixes, builds and finishes every micaceous clay piece he creates– a respectful process of the Jicarilla Apache tradition. His attention to detail, concepts and presence with Clay Mother have deepened his presence that he practices in his daily life. He thoroughly enjoys every step from start to finish in the process with Clay Mother.
Alfred is honored to walk the path amongst the great potters of New Mexico.
In 2013 Alfred entered Spanish Market in Santa Fe and won Best of Show New Artist and has won awards there every year since for his beautiful Mica Clay pottery. He has work in the Spanish Colonial Arts Museum.
He recently brought his family back to New Mexico.