Harrison Begay - Santa Clara Style

If there is one thing I can say about Harrison Begay, it would be that he is genuine. His work is pristine - and his technical ability is among those at the very top when it comes to deep carved, Santa Clara style pottery. Yet, he remains unassuming and consciously devoted to his craft. He quietly works while the pomp and circumstance rages on around him.

If Harrison had listened to his critics, he would have left his love for the pottery tradition behind - a long time ago.

"The earth speaks to me. It's very metaphorical. In one sense, I can appreciate the power of creation as I mold and sculpt my vessels. In another sense, I am humbled by the realization that I am like clay in the Creator's hands. He's plying me and making me grow. It's uncomfortable at times, but like a perfect pot, you just have to endure the 'fire.' Otherwise you're cast out. Good for nothing. I think my pots are an outward expression of the desire I have for a beautiful life within me, and I hope that comes across to my buyers."

Harrison spent many years married at the pueblo of Santa Clara and has raised a family that shares a mixed heritage. His son Daniel has collaborated with Harrison on many of his most avant-garde works. He has won many awards and had developed a following of collectors from around the world. One fan took out a full page ad in an Indian Market magazine just to thank Harrison and share his love and appreciation for his work.

As a close personal friend, I remember meeting Harrison for the first time more than ten years ago when he was visiting his sister and her family on the Hopi Indian reservation. He had locked his keys in the car, and without thinking, I volunteered to get them out. I didn't actually have any experience, but I had seen it done once before with a clothes hanger. With a bent wire and some luck, and a few minutes later, we had the driver door open! Ever since then, I think Harrison has been a little suspicious of how I acquired my "skills!"

I continue to look forward to our meetings, although infrequent. I usually see him once or twice a year in Utah, and then, of course, at the major shows in Santa Fe and Phoenix. He continues to impress with his deep carved and high polish pottery in black, red, and brown. His ability to contrast the matte and polished surface is incredible, and his blending of traditional and contemporary abstract Navajo designs is absolutely breathtaking.

We're delighted to represent Harrison's work, and we can't wait to see what he comes up with next!