Biography
Sharon focuses on traditional Santa Clara Pueblo Pottery. A traditional art form that has been passed on from generation to generation in her family. All pieces are made by hand, using materials that have been locally gathered and processed just as her early ancestors. The clay is still processed in the same manner, the clay is built up using hand coils that are mended and shaped with hand and smooth with gourds, the pots are dried, sanded and an additional clay slip is added and then stone polished, the pottery is finished in a traditional outdoor firing. Each pot is unique as each step adds its own mark to the overall finished piece. No two pots are ever the same as conditions and many variables are attributed. Sharon enjoys the traditional shapes and designs however she allows her natural surroundings and spiritual connection to influence her designs. Working with Pi Ehn Kweeyo (Clay Mother) keeps her connected to her family, tradition, and culture, and through her art, she is able to share this significance.
Sharon Naranjo Garcia is from Khapo Owingeh, Santa Clara Pueblo, a Tewa speaking pueblo located in Northern New Mexico where the Singing Water meets the Rio Grande. Sharon has been making pottery since she was a child, which nurtured into a career in which she has done for over forty years. She was taught pottery from her ‘Gia’ (mother), Christina Naranjo, as she was taught from hers. The process has remained traditional in Sharon’s work, despite the many technological advancements. She has participated in Santa Fe Indian Market for more than thirty years. 
Sharon focuses on traditional Santa Clara Pueblo Pottery. A traditional art form that has been passed on from generation to generation in her family. All pieces are made by hand, using materials that have been locally gathered and processed just as her early ancestors. The clay is still processed in the same manner, the clay is built up using hand coils that are mended and shaped with hand and smooth with gourds, the pots are dried, sanded and an additional clay slip is added and then stone polished, the pottery is finished in a traditional outdoor firing. Each pot is unique as each step adds its own mark to the overall finished piece. No two pots are ever the same as conditions and many variables are attributed. Sharon enjoys the traditional shapes and designs however she allows her natural surroundings and spiritual connection to influence her designs. Working with Pi Ehn Kweeyo (Clay Mother) keeps her connected to her family, tradition, and culture, and through her art, she is able to share this significance.