Ortiz, Virgil – “Alter-Native Equality” Jar, Taboo Series

9"w x 15"h

$ 9,000.00

This jar by Virgil Ortiz is part of his new series, “Taboo”.  The jar is coil built, rag polished and painted with wild spinach (a plant) for the black.  Virgil says he has wanted to go back to the traditional shapes and techniques as part of his message for the Taboo series.  He says of Taboo:

“Creativity comes to me from continuing the story of my Cochiti people and how we see the world around us.  Our art from the late 1800’s told the stories of what those people were experiencing at that time.  That opened the door for me to use Taboo topics to engage people about today’s society, culture, politics, religion and even social media.  There are so many issues that people are increasingly afraid to talk about.  It’s important to show the type of imagery I’ve painted for “Taboo” and record it, even if people are afraid of it or it makes them uncomfortable.  I want to demonstrate that Native artists can innovate while using traditional methods.  We don’t have to be pigeonholed by those who want the same piece of pottery over and over again.  It’s time to give the voice back to the clay.”

Virgil writes of his particular jar…

“The Zuni “princess” We’wha (WAY-wah; b.1849), as the local media dubbed her, was an instant celebrity. She boldly stepped forward in the late 1800s as the embodiment of the two-spirit, an individual who combined male and female traits into a socially-recognized third gender roll. As much as she mesmerized Eastern American society, she also characterized the strength of her role in her tribal community. Natives often considered two-spirit people to be among the strongest and most intelligent. Today’s transgender issues and controversy find inspiration in the life of We’wha, and also a voice in pop culture through musical icons like Boy George, Pete Burns, Ru Paul, Grace Jones and others who are shaping and pushing forward the agenda of the LGBT rights movement.” Virgil Ortiz

The jar has the “spirit line” which is a break in the painting on the rim.  The piece is signed on the bottom. The use of traditional and contemporary imagery has become a standard for Virgil’s pottery as he pushes the boundaries of contemporary Native clay.

Click here to see other pieces in the Taboo Series