


A member of the Acorn and Eagle Clans, Sandra Victorino was born to Pearl and David Leno of Acoma Pueblo in February, 1958. She grew up in a family of well-known potters and especially remembers watching her grandmother, Lita Garcia, making pottery. She says it was her aunt, Dorothy Torivio, who put her hands deep in Clay Mother and taught her most of what she knows of the traditional Acoma way to make and decorate pottery. She's been producing pottery for more than 40 years. She's also taught her son Cletus, Jr. to make pottery.
Sandra has been participating in juried shows for a long time, earning First, Second, Third Place and Honorable Mentions from Santa Fe Indian Market, the Heard Museum Guild Indian Art Fair and the Eight Northern Indian Pueblos Arts and Crafts Show. She's also participated in shows in Dallas, TX, Red Earth, OK and Fountain Hills, AZ.
Sandra tells us her favorite shapes to make are seed pots and tall neck seed pot vases. She most loves to paint them with fine line, swirl and checkerboard designs. She says her inspiration rises from deep in her heart and she loves to live surrounded by family, friends and beautiful pots.
The following is an article about Sandra from the June/July 2026 edition of Native American Art magazine.
Acoma pottery artist Sandra Victorino has been creating since the 1980's, upholding family and Native American pottery traditions passed down from generations. While Victorino started out creating simple yet unique designs for her coil-built seed vases, she's most known today for her intricate, black-and-white geometric designs--or "op-art," as in optical art--that covers the entirety of her vessels. The complexity of these pieces speaks to Victorino's care and attention, and her desire to leave her collectors with something truly special.
"In the family tradition--from generation to generation--my mother, grandmother and aunts, did pottery," Victorino explains. "We all had to work together to get the items we needed to create. This included [harvesting] the clay, and the grandpas or dads would grind the clay. We had our tribal traditions, like Feast Days, once or twice a year, and we would make pottery for these times. Other people would learn how to make pottery for this as well."
Victorino says that her desire to perfect her pottery inspired her to take her work further, along with her family and kids. "I have my own style and design that reflects me and my family--my trademark," she adds.

"A long time ago, I did a lot of large pieces and would sell them in Albuquerque, like once a month, to make my own money to help my kids with school and to help out the household."
The artist was greatly influenced by her aunt, Dorothy Torivio, who she says was like her "grandmother of pottery." She told Sandra, "You need to really start doing this," and then taught her how to expose her work, how to set up for art shows, and how to explain to collectors how and where her work was made. "She was mentor and teacher, but she had her style, and I had my own," Victorino adds.
As for Victorino's painted designs, created with yucca brushes and slip often made of ground hematite and wild spinach, the artist says she likes to use combinations of old, traditional designs and her personal "trademark" or what people know her for, including the black-and-white checkerboard patterns and other complex designs. "When creating," she says, "I think about what people would like to have in their home and hand down from family to family. I think about how to design my pottery and create a nice, beautiful design they will appreciate in their life and home. I'm proud of these pieces going somewhere special and to inspire other people. [I'm interested] in what they see and how they see it."
Another important element to Victorino's work is the intensive yet traditional process of gathering materials for pottery making. "We go up to Acoma to the mesa where there's a ground pit a half a mile from where the cliffs are," the artist explains. "We climb the side of the mountain, and we pray and we thank Mother Earth for the clay we're going to take to make our art and pottery. Then we dig the hard clay and bag it. I still do this today." Victorino also makes her own slip and yucca brushes for the design application.
More than anything, family appears to be at the heart of everything Victorino does. She shares that when her aunt questioned how long she could keep making her own art, Victorino made her a promise: "I'm going to take up after you if anything should happen to any of us, support each other and keep the tradition going for years to come, and make sure others know how we made our work."
Victorino has passed some of this knowledge down already, supporting the pottery of her son, Cletus Junior Victorino. She speaks very highly of his work, and is forever thankful to him for his assistance with her own work and process.
After a five-year hiatus, during which Victorino was dealing with a breast cancer diagnosis and the passing of her husband, she is currently back to creating. Collectors will find Victorino and a mix of large and small seed pots, many with her trademark designs, at the 2026 Santa Fe Indian Market. In the past, Victorino has achieved Best of Show at Indian Market, among many additional ribbons, awards and achievements at a variety of events and festivals.
View and purchase her work at Andrea Fisher Fine Pottery in Santa Fe, New Mexico. Visit the website at www.andreafisherpottery.com.
As seen in Native American Art magazine, June/July 2026.

According to Acoma oral history, the sacred twins led their ancestors to "Aaku," 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.
According to some archaeologists, a large group of Keres-speaking people left the Chaco Canyon area in the late 900s. They headed south, around the west side of the Mount Taylor volcano and across the Rio San Jose to Aaku, where they merged into a pueblo of people already living there.
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, some archaeologists feel more that the present pueblo was established near the end of the major migrations of the 1200s and 1300s. The location is essentially on the boundary between the Mimbres-Mogollon to the south and west, and Ancestral Puebloan cultures to the north and east. 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 potsherds they have found while walking on pueblo lands.
Francisco Vasquez de Coronado ascended the cliff to visit the Acomas in 1540. He afterward wrote that he "repented having gone up to the place." But the Spanish came back again, 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 also captured at Acoma had one hand cut off. Then 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 establishing civil offices in each pueblo, and Acoma had its first governor appointed. Those governors met at Santo Domingo Pueblo at the All Pueblos Council, the first democratic institution in the Americas, an institution that is still functioning.
By 1680, the situation between the pueblos and the Spanish had deteriorated to the point where the Acomas were extremely willing participants in the 1680 Pueblo Revolt. After the successful Pueblo Revolt, the Spanish retreated to Mexico. Refugees from other pueblos began arriving at Acoma, fearing an eventual Spanish return and reprisals. That strained the resources of Acoma until the Spanish actually did return. Then residents of the pueblo had to make a difficult decision. Many of the refugees chose to try a peaceful solution: they relocated to the ancient Laguna area and made peace with the Spanish as soon as they appeared in the region. Acoma made peace with the Spanish soon after.
Over the next 200 years, Acoma suffered from outbreaks of smallpox and other European-introduced diseases to which they had no natural immunity. They also sided with the Spanish against raiders from the Navajo and Apache tribes. Then New Mexico changed hands a couple times, the railroads arrived and, like every other Native American pueblo, the Acoma people became dependent on inexpensive goods brought in from the outside world.
For many years the villagers were content on the mesa top and they kept advances in technology below. Now most live in villages on the valley floor where water, electricity, natural gas and other "luxuries" 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.
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.
Up into the mid-1960s, most Acoma potters felt it was an inappropriate display of ego to sign their pots. Then Kenneth Chapman convinced Lucy Lewis, Jessie Garcia and Marie Z. Chino of the value of their signatures and they started signing their pieces. 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 burrowed through that layer of clay and into a deeper layer that didn't have the problem.
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.
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.
