Process and final product

Mata Ortiz potters generally work in their homes, with bedroomsoften doubling as studios. he work space generally consists of just a table, with simple tools such as a hacksaw blade, a butter knife, broken spoons, sandpaper, a small stone and paintbrushes generally made from clippings of children’s hair, sometimes just four or five strands tied on a stick.  The shaping of the clay is relatively faithful to the original Paquimé techniques, but each potter has their own variation in how they make their pots

The formation of the vessel is done without a potter’s wheel; instead it is a kind of wheel throwing making them essentially pinch pots.

To begin, a ball of clay is pressed into a round flat shape, which is called a “tortilla.”

This tortilla is pressed into a bowl to help it keep it shape as the bottom of the vessel.

More clay is added as a coil which is pressed into the top edge of the tortilla,

Then upon itself to form the walls of the vessel, as the bowl is turn which helps keep the shape and thickness even.

The walls are then scraped smooth and thin (for finer vessels) with a hacksaw blade, a process called segueteando.

If there is to be a lip, and extra coil is added and integrated. Then the pot is set aside and once completely dry, it is sanded smooth using a stone or deer bone with a little vegetable oil as lubricant.

After painting, the pots are fired on open ground or in pit ovens. Two or three small pots may be fired together, but larger ones are fired individually. They are set on a pile of dried cow dung and wood and if fired on open ground, covered with a large overturned pot called a “saggar.” For polychrome pots, air is allowed to circulate inside the firing chamber. If the pots are to be turned black, the chamber is sealed to keep smoke in and air out. Lydia Quezada is credited for the black variation. She says she learned how to do it when she accidentally sealed the chamber for a polychrome pot, creating black clouds. The effect prompted her to experiment.

Mata Ortiz pottery pieces are made for their aesthetic value and use pre Hispanic pottery only as inspiration, not as a means of continuing a folk-art tradition. The painted designed is where the artistic variation is most evident and skill levels vary greatly. Some potters stick to geometric patterns and colors very similar to those on original Pakimé pottery with the oval shaped vessel considered “classic”. Others have develop shapes and styles using new colors such as green, yellow, even purpose, sweeping lines and extremely thin lines.

Newer painted designs include zoomorphic shapes such as lizards, snakes, fish, birds and others, almost always related to the desert environment.   The most common decoration is burnishing to give a soft shine and fine lines in black and ochre. Another form of decoration adds decorative elements in clay over the walls of the vessel and sgraffito is usually done with only one color such as black on black. A relatively rare form of decoration for the pottery is the incision of the clay vessel while the clay is still moist.

Emphasis is generally on quality rather than quantity, differing from pottery production in central Mexico. Most pottery that is produced is of lesser quality with thicker walls and less-artistic painting. There is a middle group that makes good quality and an elite number who can make truly artistic wares. These top artists include members of Quezada’s family (Lydia, Nicolas, Noe, and Damian Quezada), the Ortiz family (Felix, Nicolas, and Macario), Taurina Baca, and Hector and Graciella Gallegos, among others. Nicolas Ortiz, best known for creating sculptural pieces. From the last category come some of the best handmade pottery in the world.