This is without a doubt the
most spectacular pot we've ever had from Steve. In every way,
it is practically perfect - from the delicately detailed design
work to the high polished finish. There is not so much as a single
"freckle" on its surface. It simply glows.
Additionally, we were mesmerized
with the elegant shape and fluid form of the piece. It has a
high profile with a gorgeous series of inverted Sikyatki feather
designs in red and white slip. This piece can be appreciated
on display at any level!
Finally, the sheer size of
this piece places it in a category all its own. Not only are
larger pieces exponentially more difficult to form and fire,
but having one survive flawlessly is a rare gem indeed. This
is truly a museum quality piece.
Steve Lucas is the great -grandson
of Nampeyo, grandson of Rachel Namingha Nampeyo and brother of
Karen Lucas. He is recognized as one of the premier Hopi potters
of today for his outstanding and innovative art work.
He consistently wins blue
ribbons, including Best of Pottery, and Best of Show at the Santa
Fe Indian Market. His works are created in the traditional ways
of Hopi potters and of his great-great grandmother Nampeyo.
Steve uses all natural clays
to hand coil his pottery, natural pigments to create designs
and outdoor firing to give his art the wonderful blush that adds
much so beauty.
Another characteristic of
Steve's fine work is the high polished glow which most pieces
exhibit. This is achieved through many hours of diligent polishing
using a small, smooth stone.
Most of his designs are based
on old Sikyatki shards that he studies for inspiration. Steve's
work is precise, finely detailed, nearly perfect in symmetry.
The red mica bottom is particularly
fine, as are the other red mica slip areas. Like his forebears,
Steve works to perfect the art of traditional polychrome pottery
making. He mentioned that the red bottom potteries must be fired
upside down, taking special care not to damage or burn the rim.
"People often ask me
how I get the shapes and designs for my pots. Actually, my ideas
come from the clay as much as from myself. I find that the more
I listen to the clay, the better my pot. So, its both of us.
With regard to the most labor
intensive step of his highly polished masterpieces, Steve says
"Working on the dried, sanded pot, polishing takes several
hours, or more if it's a larger pot. We do not use a slip or
glaze to achieve the surface finish.
"We use a very smooth
stone to do the polishing. When you find a good stone, they become
very precious and are often passed down, generation to generation."
Steve has signed with his
hallmark mudhead, or koyemsi, along with an ear of corn
for his great-grandmother, Nampeyo.
