In contrast to the ruggedness of the land, her jewelry has a softness. Although her designs reflect the linear qualities of the land, she creates a subtle beauty through her careful selection of soft-toned stones.
each with a distinctive look and personality. Some are formed of bold colors, some are large and others small, some clearly reflect a human shape, and others are so very abstract. Singularly, they reveal something of the imagination and design sense of the artist. Together, they are a testament to the long-standing career of this very talented jeweler.
Nequatewa’s distinctive and diverse designs are those of her maiden pendants. The tableta shapes atop their heads tell us they are maidens and remind us of historical photographs of Hopi women. But the shapes, colors of the stones, choice of metals, and emphasis on stonework or the metalwork distinguishes each pendant. As a group, Nequatewa’s pendants are like a village of people,
Fans of Southwest jewelry are familiar with the life and career of jeweler Charles Loloma (Hopi, 19211991), uncle to Verma Nequatewa and an artist who chose her to work as his apprentice in 1966 when she was just 17 years old. For 20 years, the two sat side by side at workbenches. Initially, Nequatewa was learning the steps of jewelry-making as well as design concepts. Later she was an active participant in the process.
Above left: Verma Nequatewa in Charles Loloma’s studio, Hotevilla, Arizona, 1969. Photographer unknown: courtesy of Eveli Sabatie.
Above: Buckle, 2014. Sugilite, turquoise, fossilized ivory, wood, lapis lazuli, coral, abalone, leather, 18K gold. Collection of Quincalee Brown and James P. Simsarian.
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