Pi95 Navajo Samuel Manymules open bowl with kiva cut. 5 1/2" x 6"

$365.00

Manymules is a superb potter whose work is growing in popularity. This work by him differs from much of his other work in the color of the outcome, which appears not to be finished with pinon pitch. It also employs a classic kiva design element absent from his swirled pots.

He demonstrates the continuing movement of Navajo pottery to more sophisticated forms and more refined finishes. His pots have been difficult to find on the Navajo reservation, requiring a lot of travel and research to locate his work. Awards recognizing Samuel’s talent is relieving that difficulty.

Samuel Manymules was born in 1963, of the Bitterwater Clan for the Red House Clan. (He occasionally refers to himself as “Leumas” Manymules, a reversed spelling of Samuel.) He claims to have taught himself potting by looking at the pottery of Joseph Lonewolf and Christine McHorse in books. He creates minimalist pottery which has an appealing sense of form.
5.5" x 6" #Pi95

Please Note: For a limited time, our normal fee for packing and shipping this pot will be absorbed by Native-PotteryLink, resulting in FREE SHIPPING to any address within the 48 mainland United States. Shipping to other destination may be arranged by emailing Sanibelart@gmail.com.

See Additional Info for a video of Samuel Manymules explaining his "Perfect World" pot at Indian Market and to read his own words about his approach to potting.

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Additional Info

In the words of Samuel Mnymules:
“The vessels I make are of traditional natural materials. First, I gather moist pure clay from local riverbed sources, which is then dried three to four months in the sun. When dried, the resulting clumps are crushed, ground, and sifted into a fine powder. Temper is also gathered and processed: volcanic ash or pottery shard may be used. After hand mixing, the clay is set aside for curing. It is then later mixed several more times. Finally, after months of preparation, the clay mixture is ready for use.

There are several ways to build a vessel, all employing traditional techniques. Sometimes I use a puki for the base, oftentimes not. Most times I start with a slab of clay, coiling and the scraping the basic form, sometimes carving, often molding and compacting freeform. Usually, I have an idea of a shape and size, but other thoughts or events may intervene affecting the final form. I use a variety of traditional tools but never a pottery wheel or any other mechanical process. Appliqué, incised design, and slips are added after the initial building. Repeated polishing is done while the vessel dries. Complete drying takes at least three days and up to three weeks, depending on size. Then it is ready for firing.

Firing is an all-day process. Cedarwood is used because it burns efficiently at high temperatures. Fire clouds happen by chance. When finished, debris such as ash is carefully removed from the extremely hot vessel. Refined piñon tree sap is then swabbed inside and out with a stick while the vessel cools. The sap has also been gathered, cleansed, and processed by hand. After the vessel cools, before display, the pottery is polished with a cotton cloth to high shine.”