Artist Media Series
Living Artists
Historic
Ortiz, Virgil – “Place in the Sun” Jar (2017) Revolution p. 27
8"w x 11"h
$ 9,000.00
This is an important jar by Virgil Oritz. It is from his 2017 show, “Taboo”. The jar is coil-built, painted with bee-weed, and traditionally fired. The Taboo show was at our gallery in Scottsdale. It was an exciting show with each piece focused on social commentary, and specifically, ‘taboo” topics. One of the first pieces he finished was this jar. Virgil wrote of the jar:
“Sexual themes are frequently taboo in many cultures. I painted the lines to flow from figure to figure. Symbolically, they reveal that whatever the method for self-gratification, the arc often runs from fulfillment to fear of discovery. Only when that arc is broken can we each seek our own place in the sun.”
The jar has figurative and linear movement. His use of lines makes the figures seem to fly across the surface. Virgil has a mastery of form and design using the shape of the jar not just as a canvas, but as a means to amplify his designs. The jar is spectacular in person with strong painting and firing. It is in excellent condition with no chips, cracks, restoration, or repair. It is signed “Virgil Ortiz” with his cipher. The jar is also featured in the book, “Virgil Ortiz: Revolution” on p. 125.
Why “Taboo”? Virgil’s Artist Statement:
“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 1800s 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 Ortiz
Virgil Ortiz: Taboo 2017
Out of stock
Description
This is an important jar by Virgil Oritz. It is from his 2017 show, “Taboo”. The jar is coil-built, painted with bee-weed, and traditionally fired. The Taboo show was at our gallery in Scottsdale. It was an exciting show with each piece focused on social commentary, and specifically, ‘taboo” topics. One of the first pieces he finished was this jar. Virgil wrote of the jar:
“Sexual themes are frequently taboo in many cultures. I painted the lines to flow from figure to figure. Symbolically, they reveal that whatever the method for self-gratification, the arc often runs from fulfillment to fear of discovery. Only when that arc is broken can we each seek our own place in the sun.”
The jar has figurative and linear movement. His use of lines makes the figures seem to fly across the surface. Virgil has a mastery of form and design using the shape of the jar not just as a canvas, but as a means to amplify his designs. The jar is spectacular in person with strong painting and firing. It is in excellent condition with no chips, cracks, restoration, or repair. It is signed “Virgil Ortiz” with his cipher. The jar is also featured in the book, “Virgil Ortiz: Revolution” on p. 125.
Why “Taboo”? Virgil’s Artist Statement:
“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 1800s 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 Ortiz