Born in Morenci, AZ, in 1948, Christine Nofchissey McHorse is a first generation, full-blooded Navajo ceramic artist. After marrying Joel McHorse, a Taos Pueblo Indian, she learned to make pots through his grandmother, Lena Archuleta, who taught her to work with micaceous clay, a rare but naturally occurring clay high in mica content that can be found in the Taos area. McHorse has since become one of the most admired and successful Native potters, working with traditional techniques but making the kind of reductive, sculptural pots that one would have expected Brancusi to make, were he alive today.
From 1963 – 1968, McHorse studied at the Institute of American Indian Arts in Santa Fe, NM, where her studio is now located. She has received numerous awards from the SWAIA Indian Market, Santa Fe, and the Inter-Tribal Indian Ceremonial, Gallup, as well as the Museum of Northern Arizona. Her works are in the collections of the Denver Museum of Natural History, the Museum of New Mexico, the National Museum of American Art of the Smithsonian Institution, the Navajo Nation Museum, and the Rockwell Museum of Western Art. McHorse also has the unique distinction of winning Best in Show for both pottery and sculpture at the annual Santa Fe Indian Market.
NY Times Obituary
Christine Nofchissey McHorse was 50, and a celebrated Native American potter, when she stopped producing the traditional painted vessels collectors loved. She instead began making rich, black unadorned sculptural forms, mysterious and sensual pieces that owed more to Constantin Brancusi than any Native American vernacular.
Inspired by the photographs of Edward Weston and the buildings of Antoni Gaudí, along with her own internal vision, she tacked away from the artisanal toward fine art (though the line between the two can be unclear), “dropping the ethnic for the universal,” as her gallerist, Garth Clark said, confounding her existing collectors and drawing in new ones. She had more than mastered the traditional work, and chafed at its restrictions.
She used micaceous clay, an incredibly strong, tensile material flecked with mica, which once fired accrues a shimmering, ebonized finish. In Ms. McHorse’s hands it became sculpture, akin to bronze.
For decades, Ms. McHorse sold pottery at the Santa Fe Indian Market, where the work of Native American makers draws collectors from all over the world.
“Back in the day,” said Mr. McHorse, a design-build contractor, “we were carrying the pots while they were still warm to sell, to pay the electric bill.”
Ms. McHorse’s work at the time followed the Pueblo tradition of decorated pots. She was Diné, the traditional name of the Navajo people. Historically nomadic, the Diné were better known for jewelry, basketry and textiles. But Mr. McHorse is half-Pueblo and his grandmother, Lena Archuleta, a skilled artisan, taught Ms. McHorse how to work and adorn the clay according to her traditions.
Ms. McHorse earned multiple awards for her work, which is in the public collections of the Smithsonian American Art Museum, among other institutions.
She worked slowly and precisely, building a piece from a single coil of clay. “There’s a period where I gain as much of the craft as I can, and then I start exploring structure — how far I can push the shape or how much extension I can get without losing the strength of the clay,” Ms. McHorse once told an interviewer.
Christine Carol Nofchissey was born Dec. 21, 1948, in Morenci, Ariz., a copper mining town, one of nine children. Her father, Mark Nofchissey, worked as a bulldozer operator in the mine there. Her mother, Ethel (Yazzie) Nofchissey, was a homemaker.
“If you don’t have anything to play with, make it,” Mr. Nofchissey told his children. Encouraged by her sisters, Christine went to boarding school, the prestigious Institute of American Indian Artsin Santa Fe. (Founded in 1962 as a high school and postgraduate program by the Bureau of Indian Affairs, it has since evolved into a college for Native arts and culture.)
She was recruited on a tennis scholarship by the College of Santa Fe, and went for a year. “She was proficient at pretty much everything,” said Mr. McHorse, adding that the couple played an unbeatable game of pickup basketball in their youth. “But she didn’t see any reason to stay longer.”
In addition to her husband, Ms. McHorse is survived by their sons, Joel Christopher and Jonathan, two grandchildren, and seven siblings.
WEST HARLEM ART FUND 
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