Back in the Saddle, horse headstall with silver female ring bit: handcrafted sterling silver from Tufa-cast ingots, shaped by chiseling, chasing and filing secured on a leather headstall, stone inlay work of Mediterranean coral, Castle Dome turquoise, Morenci turquoise, Kingman turquoise, Persian turquoise and Carico Lake turquoise, 33 x 9 x 6 in.

Artists To Watch
Mark Calladitto (Navajo (Diné)), Monty Claw (Navajo (Diné)), Rudy Coriz (Santo Domingo Tribe), Elizabeth M Kirk (Pueblo of Isleta), Langston Thompson (Navajo (Diné)), Steven Arviso (Navajo (Diné)), Rosabelle Teesyatoh Shepherd (Navajo (Diné)), Jerome Nakagawa (Navajo (Diné)), Earl Plummer (Navajo (Diné)), Cheyenne Custer (Navajo (Diné)), Alexander Becenti (Navajo (Diné)), Sage Natohtso’o’h Goldtooth (Navajo (Diné))

 

Liz Wallace (Navajo (Diné))
Booth: FR P 308
“Jewelry is my way of adding beauty to the world,” explains Liz Wallace. “Immortalizing insects, spiders, flowers, or whatever I’m inspired by is fulfilling and always an adventure. I’ve learned lapidary, chasing, repoussé, plique-à-jour, metal weaving and forging because I want to be able to bring my ideas to life. Like how a garden grows, my jewelry makes me as much as I make it. For market this year, I plan on bringing metal basketry, plique-à-jour and classic Navajo-style coin silver pieces. I’m enrolled with the Navajo Nation and also descended from the Washo and Nisenan Maidu.”

 

Maria Samora (Pueblo of Taos)
Booth: FR N 313
“The purpose of my art is to accentuate the body and capture the movement of the human form, enhancing one’s personal beauty and grace with sophistication and elegance,” says Maria Samora.“My hopes and challenges as a designer are not only to honor my spiritual heritage, but to push beyond any boundaries and move forward in a contemporary way. The natural blossoming elements of my Sweet Pea Blossom collection, as well as the interplaying geometric forms of my Mountain Range and Pyramid collections, will continue in their evolution for this year’s Santa Fe Indian Market. Subtle textures, various patinas, and the tonal play of mixed metals blend richly and create contrast and dimension. Hand-selected stones, including top white diamonds and natural turquoise, are hammer-set into thick-gauge bezels.”

 

Nick Nez (Navajo (Diné))
Booth: FR N 323
“Each year, I try to make the best pieces from bolo ties to rings,” notes Nick Nez. “Top-quality stones from Southwestern turquoise mines are set in handmade sterling silver jewelry. All pieces are designed and hand fabricated by me, which have a contemporary look and Native flare that flows together. All jewelry is finished with a high polish.”

 

Enoch Platero (Navajo (Diné))
Booth: CP 07
Enoch Platero came to jewelry on his own, but later learned that silversmiths existed in his family for generations. “I carry it forward by working with care and staying close to the tools,” he says. “My goal is to make jewelry that lasts, that feels grounded and that lets the wearer bring their own meaning to it.” Platero makes silver and turquoise jewelry, sometimes including coral, shell and the occasional rare gem. “I build each piece by hand, from melting and rolling silver to shaping bezels, cones, tubes and every other finding imaginable, and I focus on structure, symmetry and balance,” he shares. “I aim for clean lines and intentional construction.”

 

Philbert Begay (Navajo (Diné))
Booth: FR N 305
“As a young Diné artist, my grandparents told me to make things beautiful and harmonious,” says Philbert Begay. “My jewelry creations embody ‘Hozho,’ meaning balance and harmony, and to carry my life in that way. The symbols in my creations include animals, plants, places, as well as the stars, rain and wind. My work has moved into modern techniques, but my foundation is using hand-cut and hand-stamped traditional techniques...I am always connected to traditions, and ask in prayers for creative blessings.”

 

Ishkoten Dougi (Jicarilla Apache/Navajo (Diné))
Booth: FR S 342
Ishkoten Dougi studied fine arts at the Institute of American Indian Arts in Santa Fe. He works in a variety of media, including painting, sculpture and mixed media, and is known for his highly modern use of bold colors and dynamic designs. His thought-provoking art often explores themes of Native identity and cultural heritage. About his sculpture practice in particular, he says, “Creating narratives with alabaster reflect the teachings of survival in worlds that one has to journey, to be a human, carving stone or painting, sending messages to future societies’ perception of the message from an ‘NdN.’” 

 

Pahponee (Kickapoo/ Potawatomi)
Booth: PLZ 20
A self-taught artist known for her contemporary creations, Pahponee began making pottery in the early 1980s, re-learning the traditional methods of her Woodland culture. “I am the only living member of my Kickapoo and Potawatomi tribes who presently creates bronze sculpture as I do,” she says. “Each design is inspired by the traditional and contemporary life-ways of my Great Lakes ancestors and descendants, as we continue to live with all our relations on our earth.” 

 

Jazmin Novak (Navajo (Diné))
Booth: SFT P 526
Jazmin Novak’s work explores connection, memory, and resilience through animal forms using metal and glass. “At this year’s Indian Market, I am sharing new pieces that honor personal and collective healing,” says Novak. “Each sculpture is a reflection of love, loss, and the strength we carry forward through story and form.” Her raven sculpture Ascending reflects Novak’s personal journey. “The inner blown glass captures the breath of life and soul within each living being,” she says. “The bronze outer shell reflects the armor we develop over time to protect ourselves. We can get so used to our armor that we forget to let our light shine from within.”

 

Ahnesah Jo Clark (Navajo (Diné))
Booth: MAR 802
Ahnesah Jo Clark designs her steel sculptures in two and three dimensions. “All my sculptures are all created using a handheld plasma torch and all grinded, welded and shaped by hand,” she explains. “All my pieces have symbolic meanings and tell a story passed on by my parents and grandparents.” She often incorporates symbolic designs into her work, such as the zigzag, which represents lightning and its association with fire and energy, as well as blessings, strength and the power of nature.”

 

Regina Free (Chicksaw)
Booth: PLZ 08
“My sculptures have been described as ‘an Indigenous use of available materials,’” shares Regina Free, an interdisciplinary artist who works in watercolor, oil painting, colored pencil, graphite, ceramics and sculpture. Her three-dimensional pieces are realistic sculptures of animals with a focus on the use of paper. “They are life-sized mixed media sculptures made with paper, paper towels, foam, wire, plaster and found objects,” says Free. “I have been working in this medium for less than two years and I am excited to see where it takes me.”

Gentle Rain, hand-built pot: traditional clay, paints and paintbrushes, stones used to polish, outdoor traditional wood and dung firing, all natural pigments, 11 in.

Artists To Watch
Hubert Candelario (San Felipe Pueblo), Caroline Sando (Jemez Pueblo), Joseph Youngblood-Lugo (Santa Clara Pueblo), Robert Patricio (Acoma Pueblo), Jared Tso (Navajo (Diné)), Dow Redcorn (Osage Nation), Martha Fender (San Idelfonso Pueblo), Bernice Suazo Naranjo (Taos Pueblo), Larson Goldtooth (Hopi), Anderson Peynetsa (Zuni), M. Janice Ortiz (Cochiti Pueblo), Zoe Hundley (Cherokee)

 

Gabriel Paloma (Zuni)
Booth: PLZ 56
“I am a multi-talented individual who thrives to put hands on clay, wood, canvas, photography, sculpture and conceptual art, especially pottery,” says Gabriel Paloma, who is a retired high school teacher. “No matter the medium, my creations in clay have been an incarnation of living in the past. 

 

Crystal Hanna (Cherokee)
Booth: SFT 513
Crystal Hanna is a Cherokee Nation citizen from Tulsa, Oklahoma. She has been creating, showing and teaching traditional pottery methods since 1999. Her inspiration comes from her ancient ancestors who lived in the Southeastern United States. While she prefers to work with hand-processed “wild clays,” she also works with commercial low-fire earthenware. Her work has been in museum exhibitions and her story has been documented in the OSIYO-Cherokee sponsored TV show, an episode of which can be viewed on YouTube. 

 

Sharon Lewis (Acoma Pueblo) 
Booth: PLZ 45
Sharon Lewis gathers natural clay and pigments from Acoma Pueblo land to use in her pottery. “I am a self taught artist and even after 40 years, I continue to enjoy and take pride in creating an art form passed down from my ancestors,” says Lewis. “I draw inspiration from historical pottery designs and incorporate my own ideas of contemporary design. Bringing these pots to market is always a rewarding experience.”

 

Tammy Garcia (Santa Clara Pueblo)
Booth: PLZ 22
Tammy Garcia is one of the most renowned pueblo potters working today, and comes from a long lineage of exceptional female potters, who passed down their knowledge and skill. “As a teenager working with clay, I learned placement of the coil determines the shape of the vessel,” says Garcia. “I would make the water jar again and again. My grandmothers seemed fearless and it inspired me to have courage to evolve and trust my pottery instincts. I wish those who come after me to approach life, and art, in that same fierce spirit.”

 

Thomas Tenorio (Kewa Pueblo)
Booth: LIN E 744
Kewa potter Thomas Tenorio uses all traditional materials from nature for his pieces, from the clay, sand, natural pigments and slips to the wood for firing. He makes pots, vases, bowls and fish figurines, all of which he will be showcasing at this year’s Indian Market. “The main goal of mine is to keep this traditional art of my Pueblo alive for future generations,” says Tenorio. “I’m honored to have that responsibility to do so. That said, I want to thank all the artists who came before me, and the ones yet come. Art brings the people of the world together!”

 

Russell Sanchez (San Ildefonso Pueblo)
Booth: LIN E 711
Russell Sanchez grew up in San Ildefonso Pueblo. Each piece of his pottery is made with native clay and traditionally fired. “For me, tradition means moving forward and adding to what has come before,” says Sanchez. You keep changing and evolving. If we stayed stagnant, we would no longer exist. I want each piece to be unique, from my revival of polychrome colorations to gunmetal firings, they speak to the importance of Native pottery in the world of art.” (Image courtesy King Galleries.)

 

Beverly Blacksheep (Navajo (Diné))
Booth: PAL N 234
The daughter and granddaughter of weavers, Beverly Blacksheep attributes her creativity and work ethic to her family. “The women in my family were all independent, resilient and resourceful,” she says. “They wove rugs to sell at the trading posts, farmed corn, melons and squash, and raised sheep and horses alongside their children. My first thought to create art came from etching on the sandstone boulders with colored rocks as the sheep and goats grazed nearby. Art came naturally, as a way to learn, to experience and appreciate the beauty of the land and sky. I express, through my art, all my memories and appreciation of my family.”

 

Avis Charley (Spirit Lake Dakota)
Booth: LIN W 738
Avis Charley is a visual artist from Los Angeles. “My work centers on Native presence, power and beauty, and speaks to our movement across time and place,” she says. “This year, I’m focused on justice and hope, reminding us that Indigenous knowledge carries us forward. I return to Indian Market with clarity and growth, ready to share new stories and perspectives.” Charley’s work is in the collections of the Eiteljorg Museum, the Minneapolis Institute of Art and the Crystal Bridges Museum of American Art.

 

Marla Allison (Laguna Pueblo)
Booth: LIN E 730
“Art is delightfully addictive,” says artist Marla Allison. Based on traditional pueblo pottery designs, cubism and futurism, her artwork reflects the histories, landscapes and culture of her people as well as life on the reservation. “Sharing new visions of color and shape calls me to the canvas. Balancing history with whimsy, sarcasm, humor [and] philosophy inspires contemplation,” says Allison. “My work is complete when it can inspire how an audience thinks and shows up in the world. I wish my obsession upon us all.”

 

Zoë Marieh Urness (Alaskan Tlingit/Cherokee)
Booth: PLZ 04
Zoë Marieh Urness is an Alaskan Tlingit/Cherokee photographer whose award-winning work bridges documentary and fine art to celebrate and preserve Native American traditions. Raised in the Pacific Northwest, she has drawn from her deep roots in Tlingit culture to create powerful images that connect ancestral practices with contemporary Indigenous life. Her series Native Americans: Keeping the Traditions Alive and her iconic photograph No Spiritual Surrender from Standing Rock have earned her numerous honors, including a Pulitzer Prize nomination and multiple first-place awards from the Autry Museum, the Heard Museum and Santa Fe Indian Market. Urness’ work has been exhibited nationally and internationally, and she is the recipient of the 2022 Sony Alpha Female+ grant for her ongoing project Indigenous Motherhood.

 

Aspen Decker (Confederated Salish and Kootenai Tribes)
Booth: MAR 807
Ledger artist Aspen Decker is an enrolled member of the Confederated Salish and Kootenai Tribes and a speaker of her tribal Salish language. She graduated with a master’s degree in linguistics from the University of Montana in 2021 and earned her bachelor’s degree in Tribal Historic Preservation from Salish Kootenai College in 2018. She’s been teaching Salish for 10 years. “Ancestral Indigenous knowledge and language are at the heart of my work,” says Decker. “As a Salish speaker and storyteller, I create ledger art on antique maps that reflect Indigenous ways of knowing and emphasize cultural preservation, language revitalization, storytelling and Plains Indian Sign Language.”

 

Aaron Honyumptewa (Pueblo of Picuris)
Booth: PLZ 11
Using natural materials and complex new designs, Aaron Honyumptewa is on the leading edge of a new generation of katsina carver. He carves in a more contemporary and realistic style. “The style of carving I have been taught from my father is to bring a life-like depiction of seeing the katsina in real life,” he says. “I have pushed my abilities for this coming market entry. I hope everyone enjoys it.”

 

Eric Kayquaptewa (Hopi)
Booth: PLZ 91
Eric Kayquaptewa is a carver from Hotevilla, Arizona. He was taught to carve by family members in Northern Arizona on the Hopi Reservation. His work has appeared in Santa Fe before, as well as other major markets and fairs. His pieces are often colorful and feature materials such as feathers and uniquely carved objects.

 

Mark Ron Taho (Hopi)
Booth: PAL N 222
Respected and collected as one of the top katsina carvers working today, Mark Ron Taho is no stranger to awards, magazine covers and features. Known for both is realistic carvings and his more traditional “old-style” carvings, Taho pushes the category forward with carvings that speak to the medium’s past, present and future.

 

Wayland Namingha Jr. (Hopi)
Booth: POG 104
Wayland Namingha Jr. is Hopi from the Bear (Honwungwa) Clan. He started carving in 2000 with the guidance of his father, the late Wayland Namingha Sr. “This year I will be bringing to market my traditional-style Hopi katsina carvings. The traditional-style katsina are carved using cottonwood root shaped with pocketknives and horseshoe files,” he says. “The paint used on the katsina dolls are all-natural mineral pigments found in and around the Hopi reservation.”

 

Raynard Lalo (Hopi)
Booth: SFT W 530
Raynard Lalo is from Third Mesa in Northern Arizona. He has been carving since 1998. He is inspired by traditional carvers and only uses natural earth pigments, crushed to a fine powder, in making his paints. “I’m very happy to exhibit my handcrafted artwork at the Santa Fe Indian Market this year,” Lalo says. “I’ve got some new and unusual kachina carvings to share and I’m looking forward to meeting everyone at my booth.”

Gerard Begay (Navajo (Diné)), Men's Shirt and Sash

While artists creating for the textile category for Santa Fe Indian Market continue to rely on traditional methods and designs, the 2025 event welcomes contemporary visions to its roster as well. In a wide range of creations, including wearable garments, tapestries, rugs and quilts, artists usher in the “new” while honoring their ancestral backgrounds. This section is dedicated to the textile arts, where collectors can witness an impressive sampling of market’s textile artists—many of whom “weave” together history with fresh perspectives, calling us to action, providing awareness and giving voices to those who may be long gone, but should never be forgotten. 

 

Michelle Tsosie Sisneros (Santa Clara/Navajo/Laguna/ Luiseno Mission)
Booth: FR N 301
Textile artist Michelle Tsosie Sisneros lives in Santa Clara Pueblo located in Northern New Mexico, where she works as a painter and an Indigenous clothing designer. “My designs reflect my memories and my internal conflict with mainstream America,” she notes. “I hope to create clothes that are beautiful, confident, challenging and non-judgmental in shape and size. I look at my clothes as a crossover between worlds—the outside world and my traditional world. I am at peace, yes, but I am a rebel at heart. That is what my art reflects—my beliefs and gratitude.”

 

Susan Hudson (Navajo (Diné))
Booth: PLZ 13
Hudson is from Sheep Springs, New Mexico, and her mother is artist Dorothy Woods. Hudson is also the first Indigenous/Navajo quilter to win the National Endowment of the Arts Fellowship and declared a National Treasure by Congress. “I was invited to take two of my quilts to be shown at the White House, and to also speak at the Kennedy Center and the Library of Congress,” she adds. “I was able to reclaim my mothers and ancestors’ voices, history and stories. My quilts are made to educate people about the atrocities and brutality that our people suffered and survived. Their voices and whispers will not be silenced.”

 

Berdine Y. Begay (Navajo (Diné))
Booth: LIN E 715
Begay was born in Totsohni (Big Water Clan) as Táchi’nii (Red Running into Water/Earth). She is a fifth-generation weaver and grew up in Tselani, Arizona. The artist creates her tapestry to reflect landscape motifs, as in her piece Táchii. “I envisioned red-streaked mesas lingering in the foreground, their layered formations gently swaying across the landscape,” she explains. “The earthy hues of cochineal evoke memories and stories of my paternal clan, Táchi’nii. My father described his clan as being defined by the streaks of deep red hues flowing across the mesa walls of Táchii—his birthplace. The natural reds in the weaving reflect the essence of those mesa walls and the movement of imaginary water streaming through the land.”

 

Gerard Begay (Navajo (Diné))
Booth: WA E 404
Gerard Begay is a Navajo textile weaver, educator and cultural practitioner dedicated to creating inclusive, culturally grounded spaces for Indigenous students. For this year’s Santa Fe Indian Market, his work centers on the current political climate and drawing inspiration from traditional stories shared by medicine people. “I will showcase handwoven rugs and biil (rug dress), honoring ancestral knowledge and resilience through weaving,” he shares. “My art serves as both cultural preservation and contemporary commentary, bridging generations with purpose, beauty and voice.”

 

Melissa Freeman (Chickasaw)
Booth: PAL N 204
The piece Onnahinli Okhlika/Dark Morning, pictured here, is a dedication to Freeman’s father through fabric and thread. “Before my father passed, I was overcome with a sadness I could not shake,” says the artist. “I created this piece in black jacquard satin with floral patterns, and Choctaw symbolism to express emotions my family and I had experienced over the past year. Teardrop shaped beads adorn this piece as a reminder of tears shed in both grief and the joy of happy memories. The pops of gray represent the slow healing that comes after grief. With love and respect, I honor my father.”