Hecho a Mano

Hecho a Mano Hecho a Mano is all about handmade. Linktree: https://bio.site/hechoamanoorg Hecho a Mano primarily showcases New Mexican and Mexican printmakers.

We also show artists working in the mediums of ceramics, and jewelry. Our sibling gallery, Hecho Gallery, features artists making unique works primarily on canvas, paper and in clay at 129 W Palace Ave.

In this episode with Eliza Lutz, we talk about their solo exhibition, All the Lives Alive Inside Me and both the metapho...
09/01/2026

In this episode with Eliza Lutz, we talk about their solo exhibition, All the Lives Alive Inside Me and both the metaphorical and literal meanings of that title.

Merging embroidered prints on paper with quilted portraits assembled from loved ones' clothes, the works in this exhibition chronicle the giving and receiving of care in all its forms, from child rearing to elder care, from domestic arts to community organizing.

"The show is called All the Lives Alive Inside Me, which more recently feels literal, but started incredibly abstract... Where you think you're going is never where you end up, and that's sometimes my favorite part."

Sunday from 12 to 1:30, join us for coffee, tea, and donuts with music and art. b. brown & Eliza Lutz will chat with us ...
08/31/2026

Sunday from 12 to 1:30, join us for coffee, tea, and donuts with music and art. b. brown & Eliza Lutz will chat with us about their new exhibitions and Psirens will lure us in with her dreamy ambient textures.

"When I look at the ground and those—what I'm trying to make of bushes and rocks—that looks like sheet music to me after...
08/30/2026

"When I look at the ground and those—what I'm trying to make of bushes and rocks—that looks like sheet music to me after a while. The clouds, you know, it's a pattern."

Image: Daniel McCoy, Clouds Over La Puebla #2, 2026, acrylic on canvas, 12 x 18 in

"I feel my work is definitely in that continuum path of my ancestors [who] viewed and interpreted the world around us in...
08/29/2026

"I feel my work is definitely in that continuum path of my ancestors [who] viewed and interpreted the world around us in geometric ways. They symbolize the mountain as a triangle. They symbolize stars and the moon and sun as disks. I want to continue that way of thinking, and so I'm symbolizing my experiences and things I see in two-dimensional form on drawings."

Image: Terran Last Gun, Superb Dusty Sphere, 2026, ink and colored pencil on antique ledger paper, 16.625 x 13.75 in

Last weekend to catch two shows before they close August 30! Geometry of Culture and Daniel McCoy's We Can Only Go Up Fr...
08/28/2026

Last weekend to catch two shows before they close August 30! Geometry of Culture and Daniel McCoy's We Can Only Go Up From Here have been such a great pair this month.

Adobe building and plastering in the Southwest was historically women's work, Pueblo women forming the foundations of ho...
08/26/2026

Adobe building and plastering in the Southwest was historically women's work, Pueblo women forming the foundations of homes and community buildings. Margarita Paz-Pedro carries that lineage directly into As Below, So Above, embedding photo transfers pulled from institutional and personal archives into forms built from adobe and porcelain. The images come from historic photographs, and the work seeks to repatriate traditional building practices. "I hope I am giving it another life that connects it to its past life," she says.

Adobe "continues to show connections through architecture, building and practice," she notes, and in her hands the material carries identity, self, and history alongside its structural weight. Her Mexican-American, Laguna Pueblo, and Santa Clara Pueblo heritage runs through all of it, the built form and the archive folded into the same gesture, the past given another life in the present.

Images:
1). Yucca, 2026, adobe, photo tranfer9.5 x 10.25 x 1.5 in
2). Grandpa Sam's Hands, 2026, adobe, photo tranfer9.5 x 10.25 x 1.5 in
3). Women Gathering Water, Laguna Pueblo, 2026, adobe, photo tranfer9.5 x 10.25 x 1.5 in
4). Puye Cliffs, 2026, adobe, photo tranfer11.5 x 13 x 2.5 in

Ian Kūali'i describes what he does as "the meditative process of destroying to create," a balance between the rough and ...
08/25/2026

Ian Kūali'i describes what he does as "the meditative process of destroying to create," a balance between the rough and the delicate that traces back to his years writing graffiti, where he found he loved the cut more than the paint. That patience carries through everything in Geometry of Culture. Underneath the freehand precision is a sense of responsibility, the Hawaiian idea of kuleana. "Knowing I was given these gifts," he says, "I have the responsibility to be able to honor and bring forth the individuals who move me, Kānaka Maoli and other Indigenous, to figure out ways to bring further visibility to their causes and the issues they face, the crafts they've mastered." He was raised believing the traditional and the contemporary can collide and coexist, and his work insists on both at once, ancestral iconography rendered with a street artist's hand.

Images:
1). Ian Kuali'i, Aupuni, 2026, hand-cut kapa w/ painted verso, 7 x 5 in
2). Ian Kuali'i, Kānemuka, 2026, hand-cut pōpō kapa w/ indigo dyed kapa mesh verso, 7 x 5 in

For New Mexico-based printmaker and fiber artist Eliza Lutz, the work of caregiving is a legacy made visible through the...
08/25/2026

For New Mexico-based printmaker and fiber artist Eliza Lutz, the work of caregiving is a legacy made visible through the material traces it leaves behind, a quilt, an apron, a handwritten note. Merging embroidered prints on paper with quilted portraits assembled from loved ones’ clothes, these works chronicle the giving and receiving of care in all its forms, from child rearing to elder care, from domestic arts to community organizing.

The show came out of a period of immense transition. After years of caretaking for three aging family matriarchs who passed away within five months of each other, Lutz and their partner decided to become parents themselves. “Now pregnant with our first child, I have become more deeply rooted in this lineage of carework than ever before, an embodiment of the lives, care, and labor, I carry within me.”

Lutz calls the show “a love letter to this lineage and my place within it, a celebration of carework’s intimate and temporal textures.”

b. brown's practice lives in the charged tension between paired opposites: discipline and rule-breaking, methodology and...
08/24/2026

b. brown's practice lives in the charged tension between paired opposites: discipline and rule-breaking, methodology and abandon, refinement and elaboration, all spurred on by a fascination with the limits and possibilities of clay.

She set out to loosen up, get more gestural, more spontaneous. Ironically, these became "perhaps, the most constructed works I've ever produced." Two patterns emerged. In A THEME, brown pushes a basic cylinder inward to see how narrow it can go and still stand, echoing back to ancient stone stelae. In B THEME, she keeps limiting access to a vessel's interior, asking "what is a bowl if containment is all but entirely removed from its offering?" These forms turned rounded, floral, seed-like.

Built simultaneously, the works are partnered. Halfway through, brown noticed the conversation running underneath them: loss and grief. "I find it interesting that they asked to be born at the same time rather than showing up as separate shows."

Address

129 W Palace Avenue
Santa Fe, NM
87501

Opening Hours

Monday 10am - 5pm
Tuesday 10am - 5pm
Wednesday 10am - 5pm
Thursday 10am - 5pm
Friday 10am - 5pm
Saturday 10am - 5pm
Sunday 10am - 5pm

Telephone

+15059161341

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