Better known for the breathtaking gunmetal polish, and intricate black on black pottery, this gifted artist included this handsome cream and taupe jar when last in our gallery. The beautifully proportioned egg shape and the low-key palette are two factors that give this pot a serenity that belies the energetic diagonal design.
The densely marbleized clay is created by hand, of course, just as the whole piece is. The browns, creams, black, and variations of each, that cover the jar are small in scale on one side – looking almost solid – and looser and larger on the other. Cream clay slip is painted over this base, on the diagonal, so it looks as if an embroidered sash is draped over the pot. Various other motifs are also present, mostly in rectangular forms which create a pleasing counterpoint to the curvaceous swirls and round form.
Complex and full of movement as the design is, the gentle palette tempers the action. The ovoid form is also serene and static, so the general feel of the piece is of a lovely balance between rushing motion and restful stillness.
Impeccably fashioned with hand-gathered and mixed clays, coiled and burnished, painted with natural clay slip and pit-fired, this splendid jar is made just like those in the pueblos north of the border, which are the ancestral homes of this potter and his village neighbors. The design follows no specific tradition, but expresses the creativity of the artist, derived from the historic shards discovered several decades ago.
Geography is important; this would be twice the price if fashioned a few hundred miles north!