Forever Ties; Ancient to Modern Times

The debate on ceramics/pottery being a craft or an art form is extensive and annoying. The debate has inhibited potters and ceramists' ability to gain as much art historical attention compared to that of painters, sculptors (non-ceramic), and performance artists. So with this in mind, it's always a pleasure when a potter makes it through and is recognized as an artist who played an integral role in the history of art. The pleasure is even greater when it’s a person belonging to a historically marginalized group. Native, African, and other diasporatic cultures in America were usually bunched into the “Outsider” or “Folk” art category, if recognized. In this case, we have a Native American potter; Maria Martinez (1887-1980).

Maria Martinez, Blackware Bowl.

Maria Martinez, Blackware Bowl.

Maria Martinez was from the San Ildefonso Pueblo, in New Mexico. Prior to Maria, Puebloan pottery was not known internationally. Maria, was, let’s say “classically trained” in her culture's pottery technical traditions; Form, pattern, color, and clay composition. 

During an archeological dig on ancestral Pueblo land, she and her husband Julian uncovered Puebloan ceramics that looked slightly different from what was being produced in modern Puebloan society- the pieces were black. After the discovery, Maria and Julian started to produce a new, but old Puebloan style of pottery based on their findings- a mix of matte black and polished black pottery. While keeping the traditional utilitarian objective/form at hand, the simple, yet bold switch over to a monochromatic design helped put Puebloan pottery, Native American arts, and of course Maria Martinez in worldview. I should also mention that the traditional way of creating pottery, starting from making the clay, to glazing/painting the forms, all the way to firing, is a community based effort in the Pueblo. Everyone plays a role in the art making process.

Maria’s design, although based on an ancestral design, is extremely modern, making her pieces timeless. The duality of a matte and polished composition is very intelligent. Potters almost never use black because black swallows form. But Maria’s polishing technique, along with matte patterns, allows the forms to have a composition that is enhanced, rather than lessened. Maria shared her techniques with her community, and continued to make work from the Pueblo while gaining international attention, never forgetting where she came from.

Her sleek, modern, black design was inline with the popular art movement at the time, Art Deco, which probably had a hand in Maria’s success, but I do not believe Maria was gaining much inspiration from outside sources. I do wish, however, she explored more into non-utilitarian ceramics, but nonetheless, still quality work. My thought is her success was due to good, honest work, the public interest in Native American arts in the 1920s/30s, and the law of synchronicity. 

Synchronicity, relevancy, and honoring the past. 

Note for artists-

Is your work relevant to your current time?

Are you paying homage to historic artworks that are relevant/important to you while innovating design, color or composition?

Are you putting yourself in situations that could allow synchronicity to take place?

V.N