Some of the slabs are unglazed; some have “washes” of dark slip that echo the dark rock patina that the original carvers “pecked” the glyphs through. Each slab has carvings or designs on both sides.

There are many stories about her, but the one told by the Wishram people is as follows:

A woman was chief of all who lived this region. That was a long time before Coyote came up the river and changed things, and the people were not yet real people.

After a time Coyote, in his travels, came to this place and asked the inhabitants if they were living well or ill. They sent him to their chief who lived up in the rocks, where she could look down on the village and know what was going on.

Coyote climbed up to the house on the rocks and asked, “What kind of living do you give these people? Do you treat them well or are you one of those evil women?”

“I am teaching them to live well and build good houses,” she said. When she expressed her desire to be able to do this forever, Coyote said, “Soon the world will change and women will no longer be chiefs.”

Then, being the powerful trickster that he was, Coyote changed her into a rock, saying: “You shall stay here and watch over the people and the river forever.”

People know that “Tsagaglalal” sees all things for whenever they are looking at her, those large eyes are watching them.

I make several versions of Tsagaglalal, in varying sizes and venues. These two platters are about eighteen inches in diameter.

As you can see from the photos, she can handle life outdoors. In fact, she thrives there.

This series depicts a glyph circle, including two shaman (often depicted with “horned” heads and “magic” swirls at their fingertips). Also present in this circle is Kokopelli, the well-traveled and mischievous flute player.

The Ghost Glyph platter has a swirling abstract pattern that is formed by wedging several different light and dark clay bodies together.

The red glyph platter has a wide rough lip textured with rope wrapped around a dowel. It’s about 19 inches in diameter.

So it is a vessel that reminds you of a vessel.

The texture on the sides of the boat was achieved by impressing the clay with a piece of long-grained Douglas fir before forming the ovoid shape. The small base makes the boat float visually.

One of a series, lids and glazes vary with each interpretation.

Whatever the reason, it’s one of a kind for sure. Wait a minute, it’s three of a kind…

The tall one, with two handles: Needs two people to handle it.

The short one: tough little guy – born to pour.

No symbolism can explain the monstrous fauna of the cathedrals…

If ever works are exempt of meaning surely these are…

All attempts at explanation must be foredoomed to failure.

Champions of the holy who helped protect their flock from the really evil demons? Just wild and weird carvings by medieval stonemasons to augment cathedral rooftop plumbing?

There doesn’t seem to be a consistent or definitive scholarly consensus.

These two are a pair – fired together in the Soulgama, a Japanese-design wood-fueled kiln. Two faces on each piece – one side blasted by ash melt, the other more focused and detailed. All faces powerful.

I made them because I could. Have sculpted faces on pots of all shapes for over thirty years. No baloney about visions, dreams or religions. Suddenly there they were.