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G. Lola Worthington

(b Santa Clara Pueblo, NM, Jan 26, 1932).

Native American (Santa Clara Pueblo) potter. A renowned potter and member of the Tafoya family, his father, Camilio Sunflower Tafoya, revived ancestral traditional pottery forms and techniques and his sister, Grace Medicine Flower, was also a successful potter. Camilio produced Santa Clara’s first carved black and brick red pots characteristic of Mimbres pottery. Of his Pueblo upbringing, LoneWolf recalled, “We’d sit in the evenings and do beadwork, drawing, painting, clay modeling, woodworking, costume repairing … while our grandparents told us the old legend and stories.”

LoneWolf was a precision mining equipment machinist until 1971 when a back injury forced him to retire. The job provided him with an awareness of natural Colorado clays, which when heated or fired produce different colors and various effects from the local imbedded metals and chemicals. After his accident, he turned to pottery for a new career that coincided with his family’s pottery revival....


G. Lola Worthington

(b Santa Clara Pueblo, NM, 1938).

Native American (Santa Clara Pueblo) potter. Her father Camilio Sunflower Tafoya, mother Agapita and aunt Margaret Tafoya revived ancestral pottery techniques characteristic of Mimbres pottery. Furthermore, they fabricated superior black and brick red carved-incised pottery forms. A member of the renowned Tafoya family, she, along with her father and brother, Joseph LoneWolf, further revived and expanded pottery forms and techniques in Santa Clara.

Surrounded by celebrated and respected potters, she began making traditional pottery. In the late 1960s, along with her brother Joseph, she began etching designs directly onto the clay using a Sgraffito method. Grace’s work, elegant and aesthetically ingenious, transforms pottery into phenomenal and celebrated showpieces.

Many steps are involved in creating her wares from locally obtained clay. Innovative combined techniques of polished polychrome clay with incised sgraffito produce spectacular creative objects. Coil built, dried, hand polished to a smooth finish with stone or painted with clay slips, she will often add additional color to the body. The contrast of matte clay against polished surface juxtaposes intricately layered designs with negative spaces. After the slip completely dries, she carves fine-line storytelling illustrations into the greenware clay. Polished steel cutting tools produce the very precise and painstaking ...



Barbara Kramer

(b Tewa Village, First Mesa, Hopi Reservation, AZ, c. 1860; d Polacca, Hopi Reservation, July 20, 1942).

Native American Hopi–Tewa potter. In the 1890s she began to incorporate forms and motifs adapted from Sikyatki, Awatovi and other prehistoric Southwest pottery traditions (see Native North American art §V) in her work. By c. 1900 Nampeyo had elevated the new revival style to an independent art form, later designated Hano Polychrome. She worked in the traditional coil-and-scrape method with local clay. She formed vessels ranging from small seed jars and bowls to low-shouldered jars as large as 500 mm in diameter and ollas (large-mouthed water or grain jars) up to 460 mm high. On the surfaces she painted designs of stylized birds, feathers and graceful curvilinear motifs, inspired by ancient pottery, in finely ground mineral pigments and boiled vegetal matter, using a fibrous yucca-leaf, chewed at the end to form a brush (e.g. Samuel Barrett collection, Milwaukee, WI, Pub. Mus.). She fired the vessels outdoors with dried sheep dung or, less frequently, with coal; they turned a warm honey colour with red and black designs, occasionally with white accents. Nampeyo also made a smaller number of vessels with clay that fired red and during her early years sometimes laid a white slip on the surface before painting the design. She did not sign her work. In ...