A polychrome jar decorated with a checkerboard geometric design made by Felisha Patricio of Acoma
Felisha Patricio, Acoma, A polychrome jar decorated with a checkerboard geometric design
Felisha Patricio
Acoma
$ 1150
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A polychrome jar decorated with a checkerboard geometric design
8.25 in L by 8.25 in W by 8.25 in H
Condition: Excellent
Signature: F. Patricio Acoma, NM with her fish hallmark
Date Created: 2024


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Felisha Patricio


Acoma

Felisha Patricio of Acoma Pueblo is the oldest of the six daughters of Melanie and Robert Patricio. She learned how to make pottery through watching and working her parents as she grew up. In turn, she has helped to teach her sisters.

Robert is a perennial participant and ribbon-earner at Santa Fe Indian Market and at the Heard Museum Guild Indian Arts Fair & Market. Felisha grew up attending those events with him and as a teenager, she began entering her own pieces in the juried competitions. Felisha was immediately earning ribbons in the Youth Divisions, then she aged out and graduated to earning ribbons in the Adult Divisions.

Felisha graduated from Arizona State University and has a day job working for the Acoma Tribal Authority. She still makes pottery in her spare time.

Acoma Pueblo

Acoma from the air
Sky City

According to Acoma oral history, the sacred twins led their ancestors to "Ako," a magical mesa composed mostly of white rock, and instructed those ancestors to make that mesa their home. Acoma Pueblo is called "Sky City" because of its position atop the mesa. Acoma is located about 60 miles west of Albuquerque.

Acoma, Old Oraibi (at Hopi) and Taos all lay claim to being the oldest continuously inhabited community in the U.S. Those competing claims are hard to settle as each village can point to archaeological remnants close by to substantiate each village's claim. While the people of Acoma have an oral tradition that says they've been living in the same area for more than 2,000 years, archaeologists feel more that the present pueblo was established near the end of the major migrations of the 1300s. The location is essentially on the boundary between the Mimbres-Mogollon and Ancestral Puebloan cultures. Each of those cultures has had an impact on the styles and designs of Acoma pottery, especially since modern potters have been getting the inspiration for many of their designs from ancient pot shards they have found while walking on pueblo lands.

Francisco Vasquez de Coronado ascended the cliff to visit Acoma in 1540. He afterward wrote that he "repented having gone up to the place." But the Spanish came back later and kept coming back. In 1598 relations between the Spanish and the Acomas took a really bad turn with the arrival of Don Juan de Oñaté and the soldiers, settlers and Franciscan monks that accompanied him. After ascending to the mesa top, Oñaté decided to force the Acomas to swear loyalty to the King of Spain and to the Pope. When the Acomas realized what the Spanish meant by that, a group of Acoma warriors attacked a group of Spanish soldiers and killed 11 of them, including one of Oñaté's nephews. Don Juan de Oñaté retaliated by attacking the pueblo, burning most of it and killing more than 600 people. Another 500 people were imprisoned by the Spanish, males between the ages of 12 and 25 were sold into slavery and 24 men over the age of 25 had their right foot amputated. Many of the women over the age of 12 were also forced into slavery and were eventually parceled out among Catholic convents in Mexico City. Two Hopi men were also captured at Acoma and, after having one hand cut off, they were released and sent home to spread the word about Spain's resolve to subjugate the inhabitants of Nuevo Mexico.

When word of the massacre and the punishments meted out got back to King Philip in Spain, he banished Don Juan de Oñaté from Nuevo Mexico. Some Acomas had escaped that fateful Spanish attack and returned to the mesa top in 1599 to begin rebuilding. In 1620 a Royal Decree was issued which established civil offices in each pueblo and Acoma had its first governor appointed. By 1680, the situation between the pueblos and the Spanish had deteriorated again to the point where the Acomas were extremely willing participants in the 1680 Pueblo Revolt.

After the successful Pueblo Revolt the Spanish retreated back to Mexico. Refugees from other pueblos began to arrive at Acoma, fearing an eventual Spanish return and reprisals. That strained the resources of Acoma until the Spanish actually did return. The residents of the pueblo had to make a hard decision. Many of the refugees chose to try a peaceful solution: they quickly relocated to the ancient Laguna area and made peace with the Spanish as soon as they appeared in the region.

Over the next 200 years, Acoma suffered from breakouts of smallpox and other European diseases to which they had no immunity. At first they sided with the Spanish against nomadic raiders from the Ute, Apache and Comanche tribes. Then New Mexico changed hands, the railroads arrived and Acoma became dependent on goods brought in from the outside world.

For many years the villagers had been content on the mesa top. Now most live in villages on the valley floor where water, electricity and other necessities are easily available. While a few families still make their permanent home on the mesa top, the old pueblo is used almost exclusively for ceremonies and celebrations these days.

It's the dense, slate-like clay, that allows Acoma pottery to be thin, lightweight and durable. After they form a pot, they paint it with a white slip. Once dry, black and red design motifs are added using mineral and plant derived paints. Fine lines, geometrics, parrots and old Mimbres designs are common motifs. The traditional paintbrush is chewed from the yucca leaf. Historically, Acoma was known for large, thin-walled "ollas," jars used for storing food and water. With the arrival of the railroad and tourists in the 1880s, Acoma potters adapted the size, shapes and styles of their pots in order to appeal to the new buyers.

Acoma potters felt it was an inappropriate display of ego to sign a pot up into the mid-1960s. Then Lucy Lewis, Jessie Garcia and Marie Z. Chino started signing their pots. The 1960s is also a time when the primary Acoma white clay vein passed through a layer of widely distributed impurities, impurities that passed through the clay filtering process and showed up only during and after the firing. The problem was so bad it affected virtually every Acoma potter and every pot they made. Thankfully, by the late 1960s they had dug through that layer of clay and into a deeper layer that didn't have the problem.

Acoma Pueblo c. 1923
Acoma Pueblo c. 1932
Map showing location of Acoma Pueblo

For more info:
at Wikipedia
official website
Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-9, Rio Nuevo Publishers, 2001
Upper photo courtesy of Marshall Henrie, Creative Commons Attribution-Share Alike 3.0 Unported License

Chino Family Tree

Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.

    Marie Zieu Chino (1907-1982)
    • Carrie Chino Charlie (1925-2012)
      • JoAnn Chino Garcia (1961-) & Lawrence Garcia
      • Corinne Louis (1959-)
    • Rose Chino Garcia (1928-2000)
      • Tena Garcia (1964-)
    • Grace Chino (1929-1994)
      • Gloria Chino (1955-)
      • Carol Chino (1971-)
    • Vera Chino Ely (1943-)
    • Gilbert Chino (1946-1999)
    • Marie's other students:
      • Emmalita Chino (daughter-in-law) (1931-) & Patrick Chino
        • Brenda Charlie
        • Monica C. Chino
    Helen Zieu White (Marie Z. Chino's sister) & Jose Patricio
    • Patrick Patricio (1942-) & Doris Concho Patricio (1944-2019)
      • Doug Patricio
      • Israel Patricio
      • Myron Patricio
      • Robert Patricio (1976-) & Melanie Patricio
        • Felisha Patricio (1997-)
        • Kylie Patricio (1999-)
        • Juanita Patricio (2001-)
      • Stephanie M. Patricio (1970- ) & Curtis Nez

Some of the above info is drawn from Southern Pueblo Pottery, 2000 Artist Biographies, by Gregory Schaaf, © 2002, Center for Indigenous Arts & Studies

Other info is derived from personal contacts with family members and through interminable searches of the Internet and cross-examination of the data found.