Mata Ortiz Polychrome Effigy Pot by Mauro Quezada, 1989

White slip black geometric effigy pot Nicolas Quezada, Master Potter (1948 - 2011) 1988 Hand coiled low fired clay Pueblo Quezada, Mata Ortiz, Chihuahua, M...

Mata Ortiz polychrome pottery vessel Rito Talvera Quezada 1989 Hand-coiled low fire clay Pueblo Quezada, Mata Ortiz, Chihuahua, Mexico.

Vintage Mata Ortiz Tadpole Fetish Pot Cesar Dominguez (b. 1961 - ) 1989 Hand-Coiled low fire clay Mata Ortiz, Chihuahua, Mexico This miniature Tadpole Fetish Pot is a rare and very early example (1989) from this first generation Mata Ortiz acknowledged Master Potter, Cesar Dominguez, who began his work in 1984. His pottery is widely collected and his repertoire is huge, from differently colored colored intricately decorated stone -polished ollas to plates, to bowls, to marbleized pottery...

Mata Ortiz polychrome pottery vessel Ramiro Veloz Sr., Master Potter 1990 Hand-Coiled low fire clay Pueblo Quezada, Mata Ortiz, Chihuahua, Mexico An extraordinary ultra thin walled ...

Mata Ortiz polychrome pottery vessel Pilo Mora, Master Potter (1961 - ) 1990 Hand coiled low fire clay Pueblo Quezada, Mata Ortiz, Chihuahua, Mexico Measures: 7 inches Height. x...

Mata Ortiz Polychrome Pottery vessel Pilo Mora, Master Potter (1961 - ) 1990 Hand coiled low fire clay Pueblo Quezada, Mata Ortiz, Chihuahua, Mexico 7 inches H. x 7.5 inches in Diameter A classic example of this Master Potter's early work appearing in near excellent condition. This Pilo Mora pot has remained in my private collection since 1990 and has never been offered on the market before. Porfirio Mora Villalba, or Pilo Mora is one of the pioneers of Mata Ortiz Pottery...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...

Vintage hand painted and handcrafted ceramic wall decorative plate with polychrome deer scene. It has a beautifully hand painted scene with deers enjoying the outdoors , surrounded by flowers in blue and white, turquoise, light and dark green foliage. An Islamic ceramic...

Circa 1800 Spanish Majolica Faience centerpiece bowl or charger. This charming collectible antique painted ceramic dish is decorated with a large rear facing bull and with polychrom...

A pair of Chinese export glazed ceramic roosters with polychrome plumage in pinks, greens and orange with and striking red crowns and wattles, perched on weathered green striated tre...

Vintage Mexican Mata Ortiz style small clay studio pottery set. Mata Ortiz pottery style with black, red and green geometric designs on red clay. The set comprise of a covered vess...