himself as a highly gifted jeweler, introducing new techniques and materials incorporating unconventional materials and global influences. He introduced gold, ivory, and pearls; and explored tufa casting and stone inlay.
But Loloma’s work was not always accepted. The first time Charles tried to enter a show, he was rejected because jurors did not think it was ‘Indian enough.’ As a result, he originally sold his work – as so many natives do today – under the portal of the Palace of the Governors’ in Santa Fe with his pieces placed before him on a blanket. He did so, until 1973, when Ray Dewey saw his work, sensed its potential, and began selling it at Dewey Gallery.
The marketplace affirmed Charles’ unique talent and vision for a new style of jewelry. Loloma won first prize in the Scottsdale National Indian Art Exhibition seven years in a row, had several exhibitions in Paris, and undertook a residency in Japan. He was
featured in the 1972 NET film “Three Indians” and was the subject of the 1974 PBS television film “Loloma.” His jewelry was collected by many well-known individuals, including Mrs. Dwight D. Eisenhower and Mrs. Frank Lloyd Wright. President Lyndon B. Johnson commissioned pieces to be presented to the Queen of Denmark and Imelda Marcos, Philippine’s first lady. Today, Loloma jewelry – whether rings or bracelets or necklaces – are highly collectable items that sell for tens of thousands of dollars.
But in Verma’s mind, what really set Loloma apart from other artists was that he was as much a teacher as a jeweler or artist. As she tells it, Loloma was always teaching – on walks, he would always be asking her and others to look at stones on the ground and would ask them how things would look on an arm or pendant or necklace; he would also constantly relate stories about the Hopi, explaining their ways, culture, and teachings. Verma reiterated that he was always supportive: by way of example, she explained how early in her career she was fearful of making a mistake, but her uncle would simply say, if something didn’t go as planned, they would redo it in a different way. This always allowed her to see possibilities in things – ways you could use a stone in a different way in the next piece of jewelry, suggesting along the way work was never finished but always a process wherein things might be done better next time.
Loloma was an individual who enjoyed life and living well. He travelled extensively either by driving places in his elegant Jaguar or flying out of Third Mesa in his own plane – something at which Verma also became skilled. He was also very generous: Charles gave the land across the road from his studio to Verma so she could build a house, the very house where she and her husband, Bob, still live. And clearly, he was very pleased with Verma’s skill and success: as Loloma is quoted as saying of Verma’s work, “It’s more Loloma than Charles Loloma!” And while true to some extent, as there are significant influences, Nequatewa has moved beyond Loloma to create her own more finished, refined, and “feminine” style.
Looking Back on Her Career
We have already learned of Nequatewa’s love of the landscape, of the Hopi people and culture, the respect she holds for the Badger clan and the honor she feels for caring for her people during ceremonies, and the gratitude she has for what the Kachinas have taught her. We have also heard of her admiration and appreciation for her uncle, Charles Loloma, what he taught her, and the opportunities he provided. This is why she emphasizes the fact that Third Mesa never closes its ceremonies to non-residents as the village leaders say the ceremonies are for everyone. And, again, her eyes and laughter reveal the love she feels for her husband, Bob, and their children – particularly, when they start sharing stories of their life experiences together.
You can also sense the pride Verma carries inside herself about what she has accomplished as a master jeweler, though that
pride never shows itself in any excessive
manner. Consider, for example, that she regards
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