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for her husband
Marcellus to paint with designs of Zia dancers. She uses a combination of sheep and cow manure to fire her pots. To achieve a white background color instead of blue, the manure must be completely dry. One way to protect the pots from fire smudges is through the reuse of everyday objects such as old bedsprings and auto shock absorbers.
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and jars, featuring cream-colored and tan slips that her mother-in-law also uses, as well as rose-red and orange slips. Her favorite designs include roadrunners, robins, berry bushes, flowers, rain clouds, rainbows, fineline hatching, and some turtle effigy lids. Occasionally she produces plain pots
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tribe in 1978 and, as is traditional, gained tribal permission to use Zia designs in her work. Her first pots were in the Jemez style. In some instances she has collaborated with her mother-in-law, Sofia Medina, whom she cites as her inspiration.
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Zia pots are unique in that they are tempered with basalt, a hard volcanic rock. Medina has been known to bury the rock in sand for a full year in order to soften it for grinding.
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Fall 1982:10), galleries (Native
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Medina has been recognized widely for her work. She's been featured in numerous publications (including
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Southern Pueblo
Pottery: 2,000 Artist Biographies (American Indian Art Series: Volume Four)
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157:(1st ed.). Santa Fe, N.M.: School of American Research Press.
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Talking with the clay : the art of Pueblo pottery
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65:Medina is particularly known for her polychrome
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99:. Santa Fe, New Mexico: CIAC. p. 203.
55:University of Illinois at Urbana-Champaign
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