Jackson Yazzie and Nancy Chilly live on the Utah portion of the Navajo reservation, quite some distance from the area of the reservation where most Navajo potters dwell- close to the large clay beds. Jackson and Nancy go to the Cow Springs area in Arizona- as do most Navajo potters- to get their clay. They buy crushed lava in Farmington, New Mexico, to use as temper in their clay. And they search the trees of Ute Mountain area, by Towoac, Colorado, for the pinion gum from which to melt down for the pitch. So their pottery is truly representative of the famous Four Corners area, the only place in the United States where four state corners meet, and a synonymous geographical term with the Navajo reservation, the Navajo homeland basically covering this same area.

Jackson's older brother, Calvin, and Nancy's older sister, Roseann are married, and also make pottery. This is how Jackson and Nancy came to meet, and how they learned the art of Navajo pottery. After learning the procedure, they began experimenting until they came up with their own unique style, using a blend of traditional and contemporary techniques. Jackson usually originates the ideas after studying books, magazines, and other artist's work. Nancy "reforms" his ideas, making them compatible and lucid.

Working on about a dozen pieces at a time, they use their hands to form the clay against a bowl, and then put the two halves together, cutting out the top. In the old style, they use a corn cob to rough up the seam and seal it. After being smoothed, each pot is allowed to dry, then it is etched.

Jackson and Nancy each do their own etching. Jackson does most of the cut outs, and usually portrays Yei be chei figures, supernatural helping and healing beings. Yeis in the partially human form portray deities of the Mountainway or Night Chant, traditional Navajo ceremonies. Jackson's uses a stylus to etch the figures into the clay pots. His figures are more circular in form and portray motion. Nancy usually portrays "lady yeis" as she calls them, or the female Yei figures, and her figures have a more straight line look. Her pictorials represent the Squaw Dance, the Fire Dance, or N'da- the Enemyway Ceremony.

They also use textile designs, eagle feathers, rainbows, rain, and lightning, all sacred and important signs of life to the Navajo people. They sign their work with their initials, NAC or JDY, written on a slant.

After being etched, the pots are painted and fired, and then the pitch is applied. They simply pour liquid pitch inside and swirl it around to coat the interior, and then use wax paper to apply it to the outside of the pot, giving it a high sheen.

The couple works about nine hours a day, five or six days a week. Nancy laughs over the idea of spending every day working. "We need to take a break!" she says. After all, they are young, and besides, they need to go places to market their work.

They enjoy mountain biking and playing volleyball or basketball with extended family members. They also attend traditional Navajo ceremonies, like the Squaw Dance, or Yei be chei Ceremonies; always as observers, not participants. Attending these events helps them get new ideas for their pots.

"Our pottery is different from anyone else's," Nancy insists. "We make it in the traditional way, and put cultural designs on it. It is our way of preserving our Navajo heritage."