1. Decorative Coil Vessel

2. History of Coil Pottery
Most of our knowledge of the first American Indians is based on their clay work alone; fired clay is the only material on earth that does not change with time.
There are carbon-dated Indian pots from 30,000 B.C. in North America.
Pot shard traces left behind by potters over the centuries have enabled archaeologists to determine the probable origins of excavated pot remains, since all potters prospected clay and made pots near their dwelling places.

3. History of Coil Pottery
Initially, hand built vessels were made solely for utilitarian purposes, with little consideration for artistry. Most very early containers were unadorned, except for the texture of the coils and pinches, or indented textures from pointed sticks.
Over the centuries, tribal groups from different regions have developed their pottery traditions in a variety of ways.

4. And the Potters of San Ildefonso Pueblo
Maria Martinez
And the Potters of San
Ildefonso Pueblo

5. About Maria Martinez Black on Black Pottery Functional
Lived from about r 1892(?) to 1980
Coil technique
Clay
Revived and passed down a traditional form of artwork

6. At a young age, Maria learned to from her aunt how to make pottery for her family. Her pots were simple, undecorated wares intended for everyday use.
In 1908, however, things changed. Her husband Julian was hired as a laborer on an archeological dig for Dr. Edgar Hewett. Dr. Hewett Asked Maria to attempt to replicate a pot based on pot shards found at the site.
Maria Martinez and Popovi Da, Jar, feather design, 1965
Maria Martinez, Plain Polish Bowl, 2 3/4 x 3 1/4

7. Maria and Julian began to sell them to traders and tourists.
During a regular firing of pots, a number of works came out unusual. Several of the works were a dark, shiny black. Maria put these pots aside, thinking that they were undesirable.
Maria Martinez and Santana, Black Fluted Jar

8. Maria’s Simple, red polished vessels sold well, and she did not have any to offer the traders on one of their visits. She showed the traders the black vessels, thinking that they would not be interested. The traders accepted the black pots, which sold very quickly.
Maria Martinez, Plain Polish Bowl, 5 ¼ x 8, late 1920’s

9. Maria and Julian attempted several experiments in order to replicate the smoky, black burnished effect of the early pots. They found that by smothering the fire with finely ground manure they were able to reduce the firing, and blacken the ware.
Maria Martinez, Plain Polish Bowl

10. The construction of the coil vessels included several steps
The construction of the coil vessels included several steps. Maria would make a flat pancake or tortilla of clay, and shape it into a round base.

11. After completion, the pots are allowed to dry for several days.
She would then build up the walls of the vessel with coils of clay, pinching and smoothing them into the surface.
After completion, the pots are allowed to dry for several days.
Maria Martinez and Santana, Black on Black Bowl, /8 x 8 3/4
Maria Martinez, Black on Black Jar

12. For firing, the dry pots were placed on an iron grate, and cedar kindling is built up around the grate.

13. The vessels are covered with pieces of tin, and then piled high with cakes of manure. The manure serves as fuel for the firing, and also helps create the black finish by manipulating the chemical environment within the ‘kiln’.

14. In the early 20’s, Maria began teaching the art of the black on black pottery to other members of the pueblo. Many other members of the community were able to find financial security through pottery, and a new economical stability came to the pueblo.

15. In the 1920’s, Maria and Julian Martinez sold their work for a dollar and a half to three dollars per work. Today, it is common to see prices ranging from ten to twenty thousand dollars for a single vessel.

20. Roll coils in a circular fashion.

21. Line up coils rolls as seen here
Line up coils rolls as seen here.  Then place a couple coils on top above and below the coil rolls.

22. Press a ball of clay in each gap that you can see through.

23. Scrape all the coils together
Scrape all the coils together.  Don't worry about the other side, your coil pattern will still be visible

24. After the coils have been scraped and smoothed, you might want to straighten the edges by tapping a yard stick against the edge.  Your piece is now like a slab, however, your coil pattern will still be visible on the other side.

25. Carefully lift your coil slab.

26. How would you create this coil pot
How would you create this coil pot? What steps would you use, in what order? What would you do differently than what you saw in the previous slides?

27. Student Examples

28. Student Examples

29. Student Examples