Ceramics Monthly: What is the significance of iron-rich clay in your practice?
Virgil Ortiz: I don’t know what our Cochiti red clay consists of; we’ve never had to analyze or dissect any of the materials we use. Our people have used and handed down our methods and material sourcing for hundreds of years. I don’t question what or why we use these specific materials—they work in unison, so I won’t overanalyze it.
The black paint is made from the wild spinach plant, gathered once a year, which one might assume is rich in iron. My family harvests this plant when it blooms its purple flowers, usually in early May. It’s an alarm clock for our family to begin an arduous, two-week process. Picking only the leaves is tedious, but it is how we were taught by our late mother and grandmother—both renowned Pueblo potters. The goal is to gather at least eight garbage bags full of wild spinach leaves. The leaves are boiled, strained, and boiled again in a five-to–seven-day process until the leaves begin to break down and the juice thickens to a consistency similar to making red candy apples. When it reaches this fragile state, we must monitor it closely so it will not burn. If it does, the paint will not adhere to the rag-polished surface of our clay works.
CM: Your ceramic work expands into fashion, photography, and design. What unifies these projects and bodies of work?
VO: Rather than seeking higher education, I chose to walk in the shoes of my ancestors and create artwork that reflects and expresses the world around me. All the mediums I work in were born primarily out of necessity, realizing I could save a ton of money and create on my terms.
My primary mission is to educate globally about the Pueblo Revolt of 1680—America’s first revolution. It is not taught in schools or textbooks—it has been swept under the carpet because of the genocide and bloodshed on our people. When the invaders first arrived in the area, much of the artwork was broken, destroyed, and lost. The Pueblo people were accused of sorcery and witchcraft—everything was ravaged. In 1680, a Pueblo leader named Po’pay led a successful uprising against the invaders and drove them out of the area. Although the victory lasted for a brief 12 years, the success of the Pueblo Revolt was instrumental in keeping Pueblo cultural teachings, languages, and art forms alive. Pueblo peoples started making pottery again, and I have dedicated my career to preserving its revival. Art saves lives.
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Ceramics Monthly: What is the significance of iron-rich clay in your practice?
Virgil Ortiz: I don’t know what our Cochiti red clay consists of; we’ve never had to analyze or dissect any of the materials we use. Our people have used and handed down our methods and material sourcing for hundreds of years. I don’t question what or why we use these specific materials—they work in unison, so I won’t overanalyze it.
The black paint is made from the wild spinach plant, gathered once a year, which one might assume is rich in iron. My family harvests this plant when it blooms its purple flowers, usually in early May. It’s an alarm clock for our family to begin an arduous, two-week process. Picking only the leaves is tedious, but it is how we were taught by our late mother and grandmother—both renowned Pueblo potters. The goal is to gather at least eight garbage bags full of wild spinach leaves. The leaves are boiled, strained, and boiled again in a five-to–seven-day process until the leaves begin to break down and the juice thickens to a consistency similar to making red candy apples. When it reaches this fragile state, we must monitor it closely so it will not burn. If it does, the paint will not adhere to the rag-polished surface of our clay works.
CM: Your ceramic work expands into fashion, photography, and design. What unifies these projects and bodies of work?
VO: Rather than seeking higher education, I chose to walk in the shoes of my ancestors and create artwork that reflects and expresses the world around me. All the mediums I work in were born primarily out of necessity, realizing I could save a ton of money and create on my terms.
My primary mission is to educate globally about the Pueblo Revolt of 1680—America’s first revolution. It is not taught in schools or textbooks—it has been swept under the carpet because of the genocide and bloodshed on our people. When the invaders first arrived in the area, much of the artwork was broken, destroyed, and lost. The Pueblo people were accused of sorcery and witchcraft—everything was ravaged. In 1680, a Pueblo leader named Po’pay led a successful uprising against the invaders and drove them out of the area. Although the victory lasted for a brief 12 years, the success of the Pueblo Revolt was instrumental in keeping Pueblo cultural teachings, languages, and art forms alive. Pueblo peoples started making pottery again, and I have dedicated my career to preserving its revival. Art saves lives.
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