| Dimensions | 3 × 3 × 2.25 in |
|---|---|
| Condition of Piece | Excellent |
| Date Born | 2023 |
| Signature | Hubert Candelario |
Hubert Candelario, zzsf3c240, Micaceous gold holey pot with cut-outs
$2,200.00
A micaceous gold sculptural “holey pot” with circular cut-outs
In stock
Brand
Candelario, Hubert
Hubert Candelario (Butterfly) was born into San Felipe Pueblo in 1965. He's been actively making pottery since 1987.There was a time in the 1600s when San Felipe was an active pottery center but that ended with the 1680 Pueblo Revolt. San Felipe, Santo Domingo and Cochiti potters had been using leaded ores found in the Cerrillos Hills to decorate their pottery with and make the decorations last longer. They built a tremendous business with it but when the Spanish returned after the 1680 Revolt, they claimed all the lead deposits for themselves and that ended the making of pottery at San Felipe. After that San Felipe residents obtained their pottery in trade from neighbors, most often from Zia Pueblo.
Hubert earned an Associate's Degree in Architectural Design and Drafting. That fostered his appreciation for structure and pure architectural form. He credits Maria Martinez as being a major influence in his pottery career. He also says Santa Clara potter Nancy Youngblood has had a direct impact on his work with her carved, multi-ribbed melon jars.
Hubert's early works were traditional polished redware. Today he is famous for his contemporary, precisely carved puzzle pots, melon jars and pots perforated with circular or hexagonal holes.
The base structure of his pottery is formed using a red clay local to San Felipe. He completes the concept with layers of orange micaceous slip, burnished after each layer, to create his fabulous color and texture. The micaceous clay he gets from Nambe and Picuris Pueblos. He fires his pottery in a kiln to achieve an even color, free of fire clouds.
Hubert has earned numerous awards including more than one First Place ribbon at the Santa Fe Indian Market. His work was included in the 2002 exhibit and catalog Changing Hands: Art without Reservation at the American Craft Museum in New York City. One of his large swirl-cut melon jars was also selected for the permanent collection at the Denver Art Museum. Recently he earned a First Place ribbon for Miscellaneous pottery at Santa Fe Indian Market in 2019.
Hubert signs his work: "Hubert Candelario, San Felipe Pueblo", generally followed by the date the piece was made.
Some Exhibits that featured pieces by Hubert
- Breaking the Mold. Denver Art Museum. October 7, 2006 - August 19, 2007
- Breaking the Surface: Carved Pottery Techniques and Designs. Heard Museum. Phoenix, Arizona. October 2004 - October 2005
- Indian Market: New Directions in Southwestern Native American Pottery. Peabody Essex Museum. Salem, Massachusetts. November 16, 2001 - March 17, 2002
- Exhibition of New Works. Gallery 10. Scottsdale, Arizona. March 28, 1996
Some Awards earned by Hubert
- 2023 Santa Fe Indian Market, Classification II-E, Category 905, Miscellaneous, First Place
- 2020 Heard Museum Guild Indian Fair & Market, Classification II - Pottery: Innovation Award for Pottery. Awarded for artwork: Oval Pot with Hole with Lid with Holes
- 2019 Santa Fe Indian Market, Classification II-E, Category 905 - Contemporary pottery, any form or design, using commercial clays/glazes, all firing techniques - Miscellaneous: Second Place
- 2019 Heard Museum Guild Indian Fair & Market, Classification II-G - Pottery miniatures not to exceed three (3) inches at its greatest dimension: Second Place. Awarded for artwork: "Mini or Small Pot Flowing"
- 2019 Heard Museum Guild Indian Fair & Market: Judge's Award - Jeremy Frey. Awarded for artwork: "Mica 9 Dragonfly Pot with Holes"
- 2018 Santa Fe Indian Market, Classification II - Pottery, Division F - Miniature pots, individual pieces under 3 inches in any dimension: Best of Division
- 2018 Santa Fe Indian Market, Classification II-F - Miniature pots, individual pieces under 3 inches in any dimension, Category 1002 - Contemporary: First Place
- 2018 Heard Museum Guild Indian Fair & Market, Classification II - Pottery, Division G - Pottery miniatures not to exceed three (3) inches at its greatest dimension: Fist Place. Awarded for artwork: "Starmelon Mica Mini"
- 2017 Santa Fe Indian Market, Classification II - Pottery, Division E - Contemporary Pottery, any form or design, using commercial clays/glazes, all firing techniques, Category 905 - Miscellaneous: Honorable Mention
- 2017 Heard Museum Guild Indian Fair & Market. Classification II Pottery, Division E - Any Design or Form with Native Materials, Kiln Fired Pottery: Second Place. Awarded for Artwork: Mica Spirit Bowl
- 2004 Santa Fe Indian Market. Southwestern Association for Indian Arts, Classification II - Pottery, Division G - Non-traditional pottery, using traditional materials and techniques, any form or design, Category 1403 - Ribbed jars, wedding jars, vases and bowls, First Place
- 2004 Santa Fe Indian Market. Classification II - Pottery, Division G - Non-traditional pottery, using traditional materials and techniques, any form or design, Category 1411 - Miscellaneous: First Place
- 2004 Santa Fe Indian Market. Classification II - Pottery, Division K - Pottery miniatures, 3" or less in height or diameter, Category 1704 - Non-traditional forms or designs: First Place
- 2000 Santa Fe Indian Market. Classification II - Pottery, Division H - Non-traditional pottery, Category 1505 -Jars and vessels: Third Place
- 1997 Santa Fe Indian Market. Classification II - Pottery, Division H - non-traditional, Category 1505 - Jars: First Place
- 1997 Santa Fe Indian Market. Classification II - Pottery, Division H - Non-traditional, Category 1507 - Bowls: Third Place
- 1995 Santa Fe Indian Market. Southwestern Association for Indian Arts, Classification II - Pottery, Division H - Non-traditional, Category 1603 - Jars and vases: First Place
- 1995 Santa Fe Indian Market. Southwestern Association for Indian Arts, Classification II - Pottery, Division H - Non-traditional, Category 1604 - Bowls: Third Place
A Short History of San Felipe Pueblo
During the great migrations from the Four Corners area to what are now the Rio Grande Pueblos, the people of Cochiti, Santo Domingo and San Felipe were one. Before descending off the Pajarito Plateau to the Rio Grande, they settled in the area now known as Bandelier National Monument, taking advantage of a volcanic ash landscape that made it easy to construct dwellings. However, over time that area got too dry, too, and the people decided to move closer to the large river. Disagreements over where to settle split the people into what are now the Cochiti, Santo Domingo and San Felipe Pueblos.
When Francisco de Coronado arrived in 1540, there were two San Felipe villages, one on either side of the Rio Grande. The main villages were comprised of large two-and-three-story structures plus a couple hundred outlying dwellings. Coronado didn't stay long, there was no gold to be had. He and his men quickly moved on to Pecos Pueblo.
San Felipe was left alone until Don Juan de Oñaté came north in 1598. Then the troubles began. The Spanish built their first mission church next to the east village around 1600. It was built with conscript Indian labor and paid for by taxes extracted from the village. As more Spanish settlers moved into the area, that situation got worse.
The people of San Felipe participated in the Pueblo Revolt of 1680 but killed no Spaniards or any priests. Governor Otermin returned with troops in 1681 and found San Felipe abandoned as the people had hidden themselves atop nearby Horn Mesa. The Spaniards looted and burned the pueblo before returning to Mexico. When Don Diego de Vargas came back in 1692, the people chose to surrender and be baptized rather than fight. To test the peace they first settled atop nearby Santa Ana Mesa. A few years later they descended into the Rio Grande Valley and founded today's pueblo.
The Atchison, Topeka and Santa Fe Railroad built their main line along the Rio Grande, crossing Santo Domingo, San Felipe, Santa Ana, Sandia and Isleta land before reaching the Belen Cutoff area in the 1880s. Stations were built along the line next to each of those pueblos. That would have brought tourists to San Felipe but that was discouraged by the elders and there wasn't much to see anyway. Today's AmTrak and New Mexico RailRunner follow some of those same tracks.
For more info:
Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-9, Rio Nuevo Publishers, 2001
About the Seed Pot
It was a matter of survival to the ancient Native American people that seeds be stored properly until the next planting season. Small, hollow pots were made to ensure that the precious seeds would be kept safe from moisture, light, bugs, reptiles and rodents.
After seeds were put into the pot, the small hole in the pot was plugged. The following spring the plug was removed and the seeds were shaken from the pot directly onto the planting area.
Today, seed pots are no longer necessary due to readily available seeds from commercial suppliers. However, seed pots continue to be made as beautiful, decorative works of art.
The sizes and shapes of seed pots have evolved and vary greatly, depending on the vision of Clay Mother as developed through the artist. The decorations vary, too, from undecorated white, buff or red seed pots to multi-colored painted, carved, applique and sgraffito designs, sometimes with inlaid gemstones, micaceous clay and silver or clay lids.
Because of the multitude of shapes and sizes, the name "seed pot" is generally reserved for pieces with tiny openings.
About Geometric Designs
"Geometric design" is a catch-all term. Yes, we use it to denote some kind of geometric design but that can include everything from symbols, icons and designs from ancient rock art to lace and calico patterns imported by early European pioneers to geometric patterns from digital computer art. In some pueblos, the symbols and patterns denoting mountains, forest, wildlife, birds and other elements sometimes look more like computer art that has little-to-no resemblance to what we have been told they symbolize. Some are built-up layers of patterns, too, each with its own meaning.
"Checkerboard" is a geometric design but a simple black-and-white checkerboard can be interpreted as clouds or stars in the sky, a stormy night, falling rain or snow, corn in the field, kernels of corn on the cob and a host of other things. It all depends on the context it is used in, and it can have several meanings in that context at the same time. Depending on how the colored squares are filled in, various basket weave patterns can easily be made, too.
"Cuadrillos" is a term from Mata Ortiz. It denotes a checkerboard-like design using tiny squares filled in with paints to construct larger patterns.
"Kiva step" is a stepped geometric design pattern denoting a path into the spiritual dimension of the kiva. "Spiral mesa" is a similar pattern, although easily interpreted with other meanings, too. The Dineh have a similar "cloud terrace" pattern.
That said, "geometric designs" proliferated on Puebloan pottery after the Spanish, Mexican and American settlers arrived with their European-made (or influenced) fabrics and ceramics. The newcomers' dinner dishes and printed fabrics contributed much material to the pueblo potters design palette, so much and for so long that many of those imported designs and patterns are considered "traditional" now.
