Pam Lujan-Hauer is a member of the Taos Pueblo Tribe of  New Mexico. She started making pottery as a child being inspired by her great aunts Josephine Ortiz and Anita Lujan, both highly regarded traditional Taos potters. She continued her interest in pottery while attending the Institute of American Indian Arts in 1975 and 1976.

All of her pieces are coil built from clays, which she digs and processes herself.  Her traditional pottery is made from Taos micaceous clay, which contains mica chips and is native to northern New Mexico.  Her contemporary pottery is made from various native clays, which are all hand gathered and processed according to native tradition. The native colors are made from plants, clay and minerals.  All of her pieces are pit or kiln fired. Her current works incorporate a silver inlay technique and sculptures.

Her work can be seen at the  Elk Rain Family Crafts at the Taos Pueblo; Millicent Rogers Museum Store in Taos;  IAIA Museum Store in Santa Fe; the Museum of Indian Arts & Culture in Santa Fe;  The Indian Craft Shop, Department of Interior in Washington DC; Eiteljorg Museum in Indianapolis; Bahti Indian Arts in Phoenix and Tucson; Heard Museum in Phoenix;  Wrights Indian Arts in Albuquerque; Andrea Fisher Fine Pottery in Santa Fe; The Harwood Museum of Art in Taos; and Poeh Arts in Pojoaque.

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Lujan-Hauer says:

"I fell blessed to be continuing my families Pueblo tradition of pottery making. I am currently working in four native clays in addition to producing traditional Taos micaceous pieces. I hand gather and process materials to produce my pottery. In accordance with pueblo tradition I search out clays that are not currently in use by any other native groups and are thus not “claimed” by anyone. When clay is in use it is considered to be theirs by tradition and is unavailable for use by others. Once identified I develop a recipe for each clay for both pit and kiln firing.

For the last seven years I have been inlaying silver in clay. In this process the silver is pressed into the damp clay and sealed in with a clear glaze then fired. I successfully pit fired my silver inlay in 2000, and have been refining my methods since that time. In the future I intend to concentrate on more sculptural pieces and firing techniques to achieve new finishes while emphasizing shape and simplicity. I want to contribute to the evolution of Pueblo pottery, while continuing to produce traditional Taos pieces."