About ArtQuesta

ArtQuesta is artist-owned and operated! We make our pottery, paintings, and jewelry in studios located in the back half of the building and show our work in a well-appointed gallery in the front half.

Located at the south end of the Village of Questa, on New Mexico Highway 522, part of the Enchanted Circle Scenic Byway, ArtQuesta features the pottery of Sandra Harrington, including one-of-a-kind wood-fired lanterns, teapots, stoneware dinnerware, and unique home accents. ArtQuesta also features paintings in acrylics, oils, and watercolors by Roger Harrington. (Handcrafted jewelry by Roger is available in our Questa studio/gallery.)

Everything on this website is available for purchase online, by phone, or in our studio/gallery in Questa. Stoneware pottery is hand-crafted on the potter’s wheel and/or from clay slabs. Wares are fired to temperatures between 2100 and 2400 degrees Fahrenheit, in electric and wood kilns.

Our Clients appreciate craftsmanship and originality in our work that we believe reflects the maverick spirit of Northern New Mexico. Our clients are collectors, local Questenos, 2nd homers, and tourists passing through from Colorado or traveling the Enchanted Circle. Often clients we have met at local arts & crafts fairs will make the quick trip from Taos to visit.

Our studio/gallery in Questa is open Tuesday – Saturday, 10 AM – 4 PM (Sunday & Monday by chance or by appointment.)

About Sandra Harrington | Potter

“Working at the wheel helps me process my inner experiences of the external world, a meditation on line, volume and form. I like the way an expanding wet pot exhales into a quiet, still memory, waiting to be noticed and engaged. I like the dank smell of clay. I like the cool feel of the earth. I like to imagine challenging pot designs and to draw references from nature and found objects. Of course, the best pots so often are the pots that make themselves. I like that too. The possibilities are endless – ideas are always turning and evolving.

In 1987 I walked into the ceramics department of the Ft. Bragg, NC, Community Arts Center and asked to learn pottery. Bill, the head of the department, sized me up and agreed to teach me the basics of throwing, trimming, and surface treatment. Bill taught form through repetition, an offshoot of traditional Japanese method.

A year later, I walked into the ceramics department at the University of North Carolina at Greensboro and asked about using the studio. Setsuya Kotani was willing to discuss this possibility, but suggested I take a course. I did. Kotani was interested in the process of creation and art, the interplay between one’s intuition, experience, & evolving skill. Students were given complete freedom to explore individual inclinations on kick-wheels and in a well-appointed glaze lab.

In 1996, while living on the Big Island of Hawaii and working as a children’s counselor, I met Charlotte Margolis. Charlotte had been a production potter in Portland, Oregon, making her living at the Portland Saturday Market. Charlotte opened her studio to me in exchange for chores. Charlotte was a potter whose strict adherence to intention and execution reflected the enduring influence of the Arts & Crafts Movement. Charlotte taught me a great deal about technical detail and finish work.

Much of what I have learned about making pots has simply come from countless hours on the wheel, through trial and error, through reading, and wondering.

Firing has been another passage. My work as a student in the arts center and at the university was fired for me, in either electric or gas kilns. Other than having taken raku workshops, my only experience with firing kilns had been through my studio electric kiln.

In 2004, I jumped on the opportunity to fire with a community of pyromaniacs in Anagama kilns in Talpa and Tres Piedras, New Mexico. This group represents to me a new generation of potters who embrace risk and push the limits of form and function. They inspire me to break the rules! Thank you John Bradford.

In 2009, with an enormous amount of anxiety & determination, sweat, and support from my potter friends, especially Rebecca Verrill, I built my own wood burning kiln on my land on the slopes of the Pina Bete foothills, outside the Village of Questa.

Wood kilns are intense. My little kiln takes about 2 cords of wood to fire over a 30-hour cycle of continuous stoking, until we reach temperatures of 2300-2400 degrees. Two potters could fill and fire this kiln but it’s not nearly as fun as 3 or 4!”

About Roger Harrington | Painter

Roger Harrington’s love of and acute sensitivity to nature is deeply rooted in boyhood adventures across the rolling hills of the Chemung Valley, in upstate New York. Roger was born in the Finger Lakes region and lived with his family in a 150 year old field stone house with no electricity or running water. The nearest neighbor was a mile away and it was a mile-and-a-half walk through wooded areas to the one room schoolhouse he attended until the age of 11.

Roger began to draw and explore art in high school after his family moved into the nearby city of Elmira. After high school, Roger enlisted in the Navy, serving as a communications expert during the Vietnam War in Asmara, Ethiopia. He traveled to Spain, Italy, Greece, and the Caribbean, exploring art museum, and drawing what he observed and experienced.

When his tour in the Navy ended, Roger attended Elmira College on the GI Bill and earned his BS in Art Studio. He studied with, and became friends with, Alex Minewski, Joop Sanders and Gandy Brodie, all modern painters from New York City. These associations opened opportunities for Roger to show his work in New York, winning the respect of his peers and jury awards.

In the 1970s, Roger moved to the Blueridge Mountains of North Carolina, where he co-founded a cooperative art gallery and showed extensively. In 1994 he moved with his wife to the Big Island of Hawaii where he continued to paint. In 2002 the couple moved to Taos, NM and opened their first gallery. In 2008 the couple moved to Questa and opened Art Questa in 2009.

Roger’s work may be found in collections at Appalachian State University, NationsBank, Idaho State House of Reprentatives, and numerous private collectors.