Alvina was born on August 4, 1954 at Jemez Pueblo just north of Albuquerque and southwest of Santa Fe, New Mexico between the Jemez and Salado Rivers. She is a member of the Jemez Sun Clan. Alvina was eight years old when she began helping her mother, who was a potter, paint and polish pots. She has been known as an award winning Jemez potter for over 20 years.<BR> <BR> Alvina's pots are all made using the traditional coil method. She digs her own clay on the Jemez Pueblo and prepares it by hand for the body of the pots and the slips. She fires in the traditional manner using cedar wood. She achieves her finish by polishing the clay body with a stone until it is smooth and glossy. This means hours of work to achieve the finish, after the pot is formed, and before it is fired. It is the process of firing that changes the grey-brown clay to the soft red seen in the finished ware.<BR> <BR> Her red polished melon bowls with teardrop shaped openings are unique to this artist. She also created a style of pottery with a radiating feather motif incised on the upper body of the jar. The lower body of the jar may be painted in a fine line geometric pattern or incised.<BR> <BR> She is the daughter of Nick and Felipita (Nonche) Yepa. Her grandparents are Frank and Louise Fraqua Toledo and Cristino and Juanita Fraqua Yepa. She has seven siblings including Pricilla, Albert, Cristino, Jose, Lawerence, Salvadore, and Wallace. She has two sons (Gavin and Jordan) and three grandchildren (Marley and Kyrie Lujan and Javin Yepa). Alvina and her mother mentored her niece Marcella Yepa who has also become a well-known Jemez potter.<BR> <BR> In 1986 Alvina began entering her work in the Southwestern Association for Indian Arts at the Santa Fe Indian Market. By 1987 she had won First Place and Best of Division for her sgraffito pottery.<BR> <BR> Her pottery has been exhibited by the Booth Western Art Museum and by the Heard Museum. Her work is also featured in "Southern Pueblo Pottery: 2000 Artist Biographies"" by Gregory Schaaf and in "Pueblo and Navajo Contemporary Pottery" 2nd edition by Berger and Shiffer.<BR> <BR> She signs her pottery "Alvina Yepa, Jemez".<BR> <BR> *<BR> <BR> Jemez traditionally purchased most of its pottery from neighbouring Zia. The 1920s witnessed a failed attempt to revive its modest pottery tradition. During the Depression Jemez pottery was limited to imitations of the poster-paint tourist miniatures produced in large quantities at Tesuque (see below). After the war acrylic paints took over. This resulted in garish but sometimes funny pieces. However, in the 1970s potterymaking was taken up again and endeavors in a number of directions were undertaken, influenced by examples from other pueblos. Decorating greenware and innovative slip colors were shortlived experiments, while Mary Small and Mary E. Toya advocated traditional manufacture (Hayes and Blom 1996:80-83). In the 1990s Jemez pottery reached an artistic level comparable to other pueblos, although it still derives most forms, techniques and designs from neighbours. Polished redwares dominate, but a matte finish is also characteristic of some Jemez pottery.<BR> <BR> Jemez is essentially closed to visitors, but the Walatowa Visitor Center that opened in 1995? welcomes travellers and provides information on history, culture and arts and crafts. It also contains a small sales area. The center has expanded the market for the craft, as do the open air markets during the summer, fall and winter months, the Jemez Red Rock Arts and Crafts Show (2nd weekend in June), the Fall Art Fiesta (2nd weekend in October), and the Walatowa Winter Arts and Crafts Show (1st weekend in December). In addition, educational adventures (Ed-Ventures) are organized for groups, focussing on archaeological sites, traditional food preparation, dances, storytelling, arts and crafts.<BR>