Nathan Youngblood #101703

Sale

$3,120.00

This bowl by Nathan is so creative. It is rounded in shape, but the opening is oval. It is so deeply carved with so many of Nathan’s Santa Clara symbols. It is polished to such a high sheen. For added visual appeal, right in the front is a black mica carved design. That area sparkles. The carvings are cohesive, and flow across the entire bowl. Everywhere you look, are expertly carved patterns. This piece shows off his extraordinary carving and polishing techniques. Made in 2016, It is signed on the bottom in the clay with his name and hallmarked name in Tewa, which means “Deer Path”.

3 ¾” high by 3 ¾” wide

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Nathan Youngblood

Nathan Youngblood, born in 1954, is the grandson of Margaret Tafoya, and the son of Mela and Walt Youngblood. Along with his sister, Nancy, he is one of the most sought after potters working today. Nathan is a traditional potter, who has won more than 44 awards from the Indian Market in Santa Fe, New Mexico including Best of Class and Best of Traditional Pottery. He lectures in pottery techniques throughout the West and has been profiled in a number of national publications.

Nathan’s pieces combine artistry in perfection and balance. His lines are smooth and clean, and his polishing is flawless. Nathan still digs his own clay, hand coils every pot and uses the traditional open fire techniques. When he started making pottery in 1972, he was the sixth generation of artists in his family to take up this honored craft.

In a published interview with Nathan, he responded to a few interesting questions:

“What is the most exciting part of creating your works?”

“It has to be the time when a pot has cooled and I get to take the first look at the piece.”

“What do you wish somebody had told you when you were just starting out that might have saved you hours of work?”

“You cannot make the clay do something it doesn’t want to do. The clay has a time table of its own.” “Be prepared to live your craft.”

“I am walking the same road as many young potters (40s and under). I want to move away from the “regional artist” concept and consider ourselves American artists, not simply Indian artists. As I said, in believing in the importance of tradition, I think every potter should stay within his or her own set of perimeters, but I will always be pushing the envelope in terms of shapes, design, and size.”

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