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Announcing her approaching womanhood, a Hopi girl has her hair fashioned in the traditional butterfly or squash blossom whorls. The hair is arranged over a wooden form (later withdrawn) by an aunt or grandmother for the young girl's appearance at the ceremonial dances. The Hopi butterfly symbol is known to represent change and balance.

Dimensions: 13.5"h x 17"w x 13"d


  This bell is a nod to the ranching and cowboy culture of the West. This image 

shows a windcatcher

with the letter "C" for

cow, but the current

version uses the 

letter "M" and is 

stamped multiple

times with the word



8.5"h x 11"w x 11"d

cow bell.png
shalaco bell.png


The Zuni Shálako festival, on or about December 1 annually, is a remarkable sacred drama, enacted in

the open for the double purpose of invoking the

divine blessing upon certain newly built houses,

and of rendering thanks to the gods for the

harvests of the year. Six men wear wooden frames

ten feet tall covered with dance kilts and topped with masks of the face of Shalako, a deity or divine being.

This bell is inspired by the beautiful costumes and headdresses.

Dimensions: 17"h x 11"w x 8"d


Often called Crown Dancers by non-Apaches, the Mescalero  dancers are called upon to evoke blessings at sacred Apache Gan ceremonies. The four traditional dancers cover their faces with cloth masks, each carries a wand and wears enormous, painted headpieces called 'horns' which recall the Mountain Spirits of Apache culture. Their upper torsos are painted with symbolic designs and  These four dancers are understood as embodiments of the four directions.

Dimensions: 27"h x 17"w x 6"d

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mojave effigy bell.png


   The Native American tribes of the Great Plains believed that invisible presences exist which could be contacted to bring 

 harmony into their lives. Through vision quests, they

      sought to  bring the  supernatural and natural

worlds into close contact. During a vision quest, the individual experienced a

higher level of consciousness and would be visited by an animal spirit who then became his spirit guide throughout life.

   Among the Lakota Sioux, the raven was a potent spirit

guide - mummified birds

were wrapped in ceremonial

red flannel strips and placed with other meaningful

symbols in a personal

medicine bag.

Dimensions: 20"h x 12"w x 7"d


   Mojave effigy dolls are made of un-fired clay, and as a result are very fragile. These female figures are dressed in cloth skirts and wear necklaces of beads. Their bodies are painted with red, yellow and black pigment in traditional Mojave Indian patterns. It is not known when it was that the Mojave first began creating clay human figures. The earliest documented example was collected by the Whipple expedition (1854). After 1883, when the railroad route was established through Needles, the Mojave Indians were making the dolls for sale to Euro-American tourists. This bell is based on a clay doll found in the Colorado Indian Tribes Museum in Parker, Arizona.

Dimensions: 24"h x 19"w x 9"d


This bell was created from my love of all things Corvid. A raven is perched at 

the top of the bell and the bell itself

is  etched with the phrase, "If men had wings and bore black feathers, few  would be clever enough to be crows.”, and words such as "nevermore" and "caw". The windcatcher is a black raven feather. Current bells have a black patina on the raven and feather, and the bell itself is done in a traditional bronze patina.

Dimensions: 12"h x 6"w x3.5"d

mudhead bell.jpg


According to Hopi lore, the Mudhead was the first being to emerge into this, the Fourth World of the Hopi. The Mudhead climbed up the inside of a reed and when he entered this world, covered in mud, he found himself at the base of the Grand Canyon. The hole he emerged from is called the sipapu and every kiva has a small sipapu in the floor to remind the Hopi from whence they came.
Mudhead Katsinam perform in a multitude of roles within ceremony. They are an integral part of all dances and perform roles from drumming to interacting with spectators. They are responsible for distributing prizes during games and filling in other roles as needed. 

Dimensions: 15"h x 5"w x5"d


   This piece is loosely based on the ancient nine-day Dine (Navajo) healing ceremony undertaken to relieve and sustain those stricken with disease, sorrow or loss. In a larger sense, this is meant to reharmonize and reorder the natural world. The songs that comprise this ceremony number many hundreds and are very potent and beautiful.

I have not intended to trespass in any way on beliefs or the beauty of ceremony - only to honor tradition and human awe in the wonder of the universe, and the intrinsic power of words.

                                                                   Dimensions: 30"h x 17"w x 10"d

Happily, on a trail of pollen,

may I walk.

As it was long ago, may I walk.

May it be beautiful before me.

May it be beautiful behind me.

May it be beautiful below me.

May it be beautiful above me.

May it be beautiful all around me.

In Beauty may I walk,

In Beauty if is finished.

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