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A Field Guide to Southwest Jewelry · by Mateo James

What Is Channel Inlay in Southwestern Jewelry?

← Field Guide

Channel inlay is a technique in which stone, shell, or other materials are cut to precise shapes and set into soldered silver channels, their top surfaces ground flush with the surrounding metal to create a seamless mosaic. Unlike bezel setting, where a wall of metal surrounds and overlaps a stone, channel inlay eliminates the visible metal wall—each material meets the next at a cut edge, held in place by the channels themselves.

Mateo's Field Notes

Channel inlay demands lapidary and metalsmithing skill in roughly equal measure. The smith first fabricates the channel framework—a network of thin silver walls soldered to a backing sheet—that will define the shapes each stone must fit. The lapidary then cuts and grinds each stone to fill its channel precisely. Too tight and the stone cracks under setting pressure; too loose and the fill compound needed to secure it becomes visible and eventually discolors. The fit must be close enough that only a thin adhesive layer bridges any gap.

Adair's documentation of Zuni smiths in the 1940s captures channel inlay at an inflection point, when Zuni artists were adapting older mosaic traditions—shell and turquoise mosaics predating silver in the Pueblo record—into the channel framework that silver construction made possible. The Zuni genius in channel inlay lies partly in the design vocabulary, which often echoes kachina iconography, and partly in stone selection: Zuni artists have historically maintained direct relationships with turquoise sources and lapidary suppliers, giving them access to material consistency that matters enormously when matching stones across a large inlay field.

Eveli Sabatie's work represents a contemporary direction in channel inlay that pushes the material combinations beyond the traditional turquoise-coral-jet-shell palette into fossilized materials, exotic shells, and stones sourced internationally. Angela Cellicion and Bernice Leekya, both Zuni, work more squarely within the Zuni mosaic tradition. Rita Begay and Rita Joe Cordalis bring Navajo geometric sensibility to channel compositions that differ in visual rhythm from Zuni work—broader fields, starker contrasts, fewer stones of more deliberate shape.

Wayne Haloo of Zuni has developed channel inlay work notable for its intricate figure-ground relationships, where positive and negative spaces in the silver channel framework carry as much visual weight as the stone fills themselves.

Collector's Handbook

  • Run a fingertip across the surface. In quality channel inlay, the stone surfaces are level with the silver channels. A fingertip moving across the piece should feel a uniform plane interrupted only at the channel walls. Stones sitting above the metal indicate incomplete grinding; stones sitting below indicate shrinkage or adhesive failure.
  • Examine the channel walls. The thin silver walls between stone compartments should be clean and vertical, without excess solder blobs or ragged edges. The width of the walls is a design choice, but consistency within a piece indicates controlled workmanship.
  • Check stone matches within a single field. Where multiple stones of the same material fill adjacent compartments, their color and matrix should be deliberately chosen. Random mismatches in a field that looks designed for consistency suggest a repair using a different source stone.
  • Ask about the lapidary relationship. Many channel inlay artists cut their own stones; others have trusted lapidary partners. Either is legitimate, but the answer reveals the depth of the artist's process.
  • Be cautious of plastic or resin fills. In cheaper work, polymer composites replace stone. They feel lighter, their surface has a different sheen under raking light, and they may show crazing or discoloration with age.

Masters of Channel Inlay in Our Directory

Angela Cellicion (Zuni) · Bernice Leekya (Zuni) · Eveli Sabatie · Everett Teller (Navajo) · Rita Begay (Navajo) · Rita Joe Cordalis (Navajo) · Wayne Haloo (Zuni)

Primary Sources

  • Adair, John. The Navajo and Pueblo Silversmiths. University of Oklahoma Press, 1944.
  • Hougart, Mark. Hallmarks of the Southwest. Schiffer Publishing, 2000.

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Clusterwork · Needlepoint and Petit Point · Shadowbox · Glossary