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Ortiz, Virgil – “Four Armed Woman” Siren Series Clay Figure (2010), p. 83 Published
9.5" long x 19.5"h
$ 9,800.00
This is an extraordinary piece from a creative series Virgil Ortiz. This figure is from 2010 and was one of the pieces for his show, “Sirens”. This figure was one of the first that he made for this show. It was all about the flow of the dress in clay. Of course, it wasn’t enough for her two have two arms…she had to have four, creating a more dramatic appearance! It is really the dress and painted lightning design that make the figure so exceptional. There are tab earrings and horsehair insets in her back. She is painted with wild spinach plant for the black. I
I wrote about the Siren series:
“The follow-up exhibitions in 2010 of Sirens and Contortionista relied on the sensuality and erotic visuals of the body in motion. Sirens were sexy fashionista females. Each had multiple clay pieces that were added to the figures to represent feathers or other adornment. They flowed and swayed with up-stretched arms, ample breasts, and beautiful faces, often covered by clay masks. “They were designed to look like a hyper-sexualized doll dressed in high fashion,” Virgil explained. “Evening gowns and red carpet looks but beautiful and dangerous as hell.” The Sirens sang to the viewer to heed the call of Virgil’s sexually provocative fashion within the safety of the clay.” Virgil Ortiz: Revolution
The use of the figures as social commentary is part of the history of Cochiti Pueblo. They were called “Monos” figures and were originally made in the late 1880s and revived by Virgil in the 1980s. The Siren series was a masterful departure for Virgil as he explored the limitations of the clay and ways to add additional clay parts (like the wings) to the pieces to give them more dimension. Exceptional! The figure is signed on the bottom, “Virgil Ortiz” and his cipher. The figure is in excellent condition with no chips, cracks, restoration or repair. It is certainly an important piece of his work and definitely a piece that would be almost impossible to replicate today! It is featured in the book, “Virgil Ortiz Revolution” on p. 83 and the last image is the graphic used for the show in 2010.
The Monos figurative art from Cochiti Pueblo has a fascinating story of resilience, resistance, and revival. The historic Monos figures were made in Cochiti from around 1880 to about 1920. Their function was to provide social commentary in a world that was inundated by the new arrival of the railroads and an influx of “foreigners” to the region. “Cochiti potters engaged in social criticism, conducting a discourse, often through parody, on the changing occupants of the Pueblo World. Figures expressed the ways that potters viewed those who differed from themselves, and many are humorous or satirical.
Out of stock
Brand:Ortiz, Virgil (b.1969)
Description
This is an extraordinary piece from a creative series Virgil Ortiz. This figure is from 2010 and was one of the pieces for his show, “Sirens”. This figure was one of the first that he made for this show. It was all about the flow of the dress in clay. Of course, it wasn’t enough for her two have two arms…she had to have four, creating a more dramatic appearance! It is really the dress and painted lightning design that make the figure so exceptional. There are tab earrings and horsehair insets in her back. She is painted with wild spinach plant for the black. I
I wrote about the Siren series:
“The follow-up exhibitions in 2010 of Sirens and Contortionista relied on the sensuality and erotic visuals of the body in motion. Sirens were sexy fashionista females. Each had multiple clay pieces that were added to the figures to represent feathers or other adornment. They flowed and swayed with up-stretched arms, ample breasts, and beautiful faces, often covered by clay masks. “They were designed to look like a hyper-sexualized doll dressed in high fashion,” Virgil explained. “Evening gowns and red carpet looks but beautiful and dangerous as hell.” The Sirens sang to the viewer to heed the call of Virgil’s sexually provocative fashion within the safety of the clay.” Virgil Ortiz: Revolution
The use of the figures as social commentary is part of the history of Cochiti Pueblo. They were called “Monos” figures and were originally made in the late 1880s and revived by Virgil in the 1980s. The Siren series was a masterful departure for Virgil as he explored the limitations of the clay and ways to add additional clay parts (like the wings) to the pieces to give them more dimension. Exceptional! The figure is signed on the bottom, “Virgil Ortiz” and his cipher. The figure is in excellent condition with no chips, cracks, restoration or repair. It is certainly an important piece of his work and definitely a piece that would be almost impossible to replicate today!
The Monos figurative art from Cochiti Pueblo has a fascinating story of resilience, resistance, and revival. The historic Monos figures were made in Cochiti from around 1880 to about 1920. Their function was to provide social commentary in a world that was inundated by the new arrival of the railroads and an influx of “foreigners” to the region. “Cochiti potters engaged in social criticism, conducting a discourse, often through parody, on the changing occupants of the Pueblo World. Figures expressed the ways that potters viewed those who differed from themselves, and many are humorous or satirical.
Learn More
Virgil Ortiz is one of the most innovative potters working today. He is a son of noted potter Seferina Ortiz and grandson of Laurencita Herrera. His sisters Janice, Inez, and Joyce are also potters and his niece, Lisa Holt. He encourages his nieces and nephews also to continue making traditional pottery. His work has been featured in numerous museum exhibits nationwide, and he is also known for his fashion designs. He has won multiple awards at Santa Fe Indian Market, the Heard Museum Indian Market, and other events. His pottery can be found in museums worldwide.
“The thought has never crossed my mind to be anything other than an artist and fashion designer. Art is in my blood”, says Virgil Ortiz, a Cochiti Pueblo Native. Sought by celebrities, royalty, and collectors, American Indian artist Virgil Ortiz artworks move into a new era combining art, décor, fashion, video, and film. Hailing from a family of celebrated Pueblo potters. From the National Museum of the American Indian in New York, and Denver Art Museum, to the Hertogenbosch Museum in The Netherlands, and Foundation, and Cartier’s Paris, France. Virgil Ortiz’s exquisite clay works are exhibited worldwide.
Born in 1969, the youngest of six children, Ortiz grew up in a creative environment. Storytelling, collecting clay, gathering wild plants, and producing figurative pottery was part of everyday life. His grandmother Laurencita Herrera and his mother, Seferina Ortiz, were both renowned Pueblo potters. “I didn’t even know it was art that was being produced while I was growing up,” he remembers. Virgil Ortiz, who works and lives in Cochiti Pueblo, New Mexico, has worked very hard and has had a few lucky breaks. His efforts have propelled him to a preeminent place among contemporary Native artists.
After a highly successful collaboration with fashion mogul Donna Karan, he developed boldly patterned textiles based on his graphic decorative painting. Ortiz launched his fashion line. His designs are captivating, provocative, and edgy, thus creating a high demand. His sharp laser-cut leather jackets, swinging taffeta skirts, cashmere sweaters, and silk scarves echo the Pueblo pottery's voluminous contours and sinuous motifs. He showcases the richness of indigenous, high fashion, and compelling storytelling of Pueblo culture and history. Virgil Ortiz debut Colorblind, his all-new T-shirt collection blending art, vibrant colors, and graphic images. Each of which portrays his interpretation of the historic Pueblo Revolt of 1680 – the First American Revolution. “I want to pay tribute to our great leader Po’pay and ancestors that lived and walked on our lands, and respect that their spirit will live on through me.”
Creating a global awareness of Pueblo culture is reflected in the design components that reach past a traditional Ortiz sculpture. His art form delves into an untapped age of décor elements that honor a prosperous civilization with skill and vision. Ortiz also designed 'Indigenous Imprints'®, a carpet collection designed exclusively for Aqua Hospitality Carpets. This collection consists of twenty unique patterns. His design concepts are a fascinating balance between contemporary and traditional for guest rooms, corridors, and public spaces in some of the most exclusive hotels and resorts worldwide. 'Indigenous Imprint's® is a natural progression toward leading-edge furnishings and adornment that capture the elegance and spirit of Ortiz’s inspiration.
Beyond the notoriety of his artistic talent, Ortiz’s professional agenda centers on a lifelong dream to create opportunities for children in his tribal community that reflects his ancestors' legacy. “It’s important to recognize that Pueblo communities are very much alive. They have a vitality level that speaks to generations of strength, persistence, brilliance, and thriving energy. I have something vital to do before I go. I want to preserve my culture and inspire our youth to accomplish whatever it is they dream of being.” – Virgil Ortiz
Virgil Ortiz