Martha Appleleaf Fender was born into San Ildefonso Pueblo in 1950. She was the daughter of Carmelita Vigil Dunlap and Nicholas Cata. She grew up in a pottery-making family and still remembers watching her great-aunts, Desideria Montoya and Maria Martinez, as they made pottery when she was younger. And as much as her mother, Juanita, also made pottery, Martha says it was her father, Carlos Dunlap, who really taught her how to do it herself.

Over the years Martha has experimented with using different techniques and different clays. She made some cream-on-red pots like her uncle and aunt Albert and Josephine Vigil. She made some green-on-red pots, similar to those of another uncle, Tse Pe. She also sometimes let her son, Erik Sunbird Fender, paint her pots.

Some Awards Won by Martha

• 2024 Santa Fe Indian Market, Classification IIC, Category 705 - Painted designs on a black or red burnished or polished surface, any form in the style of San Ildefonso, Second Place
• 2023 Santa Fe Indian Market, Classification II-C, Category 705 - Painted designs on a black or red burnished or polished surface, any form in the style of San Ildefonso, Second Place
• 2018 Santa Fe Indian Market, Classification II - Pottery, Division C - Traditional Burnished Black or Red Ware; Incised, Painted or Carved, Category 705 - Painted designs on a black or red burnished or polished surface, any form in the style of San Ildefonso: Second Place
• 2017 Santa Fe Indian Market, Classification II - Pottery, Division C - Traditional Burnished Black or Red Ware; Incised, Painted or Carved, Category 705 - Painted designs on a black or red burnished or polished surface, any form in the style of San Ildefonso: First Place
• 2017 Santa Fe Indian Market, Classification II - Pottery, Division C - Traditional Burnished Black or Red Ware; Incised, Painted or Carved, Category 705 - Painted designs on a black or red burnished or polished surface, any form in the style of San Ildefonso: Second Place
• 2004 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface, Category 1102 - Bowls: First Place
• 2004 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface, Category 1104 - Miscellaneous: First Place
• 2001 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso): Best of Division with Erik Fender
• 2001 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1101 - Jars: First Place with Erik Fender
• 1999 Santa Fe Indian Market, Classification II - Pottery, Division H - Non-traditional any forms using non-traditional materials or techniques, Category 1504 - Jars and vases, painted, other: Third Place
• 1999 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1104 - Wedding vases: First Place
• 1998 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1101 - Jars: Third Place
• 1998 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1103 - Bowls: Second Place
• 1997 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface, Category 1101 - Jars: Third Place
• 1997 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface, Category 1103 - Bowls: Third Place
• 1997 Santa Fe Indian Market, Classification II - Pottery, Division D - Traditional pottery, painted designs on burnished black or red surface, Category 1104 - Wedding vases: Second Place
• 1996 Santa Fe Indian Market, Classification II - Pottery, Category 1101 - Jars: Third Place
• 1995 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1201 - Jars: Second Place
• 1995 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1201 - Jars: Third Place
• 1995 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1206 - Plates: Second Place with Erik Fender
• 1995 Santa Fe Indian Market, Classification II - Pottery, Division E - Traditional pottery, painted designs on burnished black or red surface (in the style of Santa Clara or San Ildefonso), Category 1207 - Miscellaneous: First Place

Micaceous clay pots are the only truly functional Pueblo pottery still being made. Some special micaceous pots can be used directly on the stove or in the oven for cooking. Some are also excellent for food storage. Some people say the best beans and chili they ever tasted were cooked in a micaceous bean pot. Whether you use them for cooking or storage or as additions to your collection of fine art, micaceous clay pots are a beautiful result of centuries of Pueblo pottery making.

Between Taos and Picuris Pueblos is US Hill. Somewhere on US Hill is a mica mine that has been in use for centuries. Excavations of ancient ruins and historic homesteads across the Southwest have found utensils and cooking pots that were made of this clay hundreds of years ago.

Not long ago, though, the making of micaceous pottery was a dying art. There were a couple potters at Taos and at Picuris still making utilitarian pieces but that was it. Then Lonnie Vigil felt the call, returned to Nambe Pueblo from Washington DC and learned to make the pottery he became famous for. His success brought others into the micaceous art marketplace.

Micaceous pots have a beautiful shimmer that comes from the high mica content in the clay. Mica is a composite mineral of aluminum and/or magnesium and various silicates. The Pueblos were using large sheets of translucent mica to make windows prior to the Spaniards arriving. It was the Spanish who brought a technique for making glass. There are eight mica mining areas in northern New Mexico with 54 mines spread among them. Most micaceous clay used in the making of modern Pueblo pottery comes from several different mines near Taos Pueblo.

As we understand it, potters Robert Vigil and Clarence Cruz have said there are two basic kinds of micaceous clay that most potters use. The first kind is extremely micaceous with mica in thick sheets. While the clay and the mica it contains can be broken down to make pottery, that same clay has to be used to form the entire final product. It can be coiled and scraped but that final product will always be thicker, heavier and rougher on the surface. This is the preferred micaceous clay for making utilitarian pottery and utensils. It is essentially waterproof and conducts heat evenly.

The second kind is the preferred micaceous clay for most non-functional fine art pieces. It has less of a mica content with smaller embedded pieces of mica. It is more easily broken down by the potters and more easily made into a slip to cover a base made of other clay. Even as a slip, the mica serves to bond and strengthen everything it touches. The finished product can be thinner and have a smoother surface. As a slip, it can also be used to paint over other colors of clay for added effect. However, these micaceous pots may be a bit more water resistant than other Pueblo pottery but they are not utilitarian and will not survive utilitarian use.

While all micaceous clay from the area of Taos turns golden when fired, it can also be turned black by firing in an oxygen reduction atmosphere. Black fire clouds are also a common element on golden micaceous pottery.

Mica is a relatively common component of clay, it's just not as visible in most. Potters at Hopi, Zuni and Acoma have produced mica-flecked pottery in other colors using finely powdered mica flakes. Some potters at San Ildefonso, Santa Clara, Jemez and San Juan use micaceous slips to add sparkle to their pieces.

Potters from the Jicarilla Apache Nation collect their micaceous clay closer to home in the Jemez Mountains. The makeup of that clay is different and it fires to a less golden/orange color than does Taos clay. Some clay from the Picuris area fires less golden/orange, too. Christine McHorse, a Navajo potter who married into Taos Pueblo, uses various micaceous clays on her pieces depending on what the clay asks of her in the flow of her creating.

There is nothing in the makeup of a micaceous pot that would hinder a good sgraffito artist or light carver from doing her or his thing. There are some who have learned to successfully paint on a micaceous surface. The undecorated sparkly surface in concert with the beauty of simple shapes is a real testament to the artistry of the micaceous potter.