Richard Zane Smith #31301

$4,400.00

Luckily, Richard does not tire of me asking for floral corrugated works from him. I feel like they are so unique and so outstanding. Each one is always different, but each one is always amazingly beautiful. Richard has explained to me – “The floral jar is a continuation of an endless series, playing with stylized floral designs and textures inspired by Iroquoian quillwork and Wendat moose hair embroidery.” This new lidded bowl is different from any we have had before. The emphasis here is on the vines in three different areas: the fitted lid, the border below the lid, and the actual main coiled body of the bowl. There is an almost muted tonal quality to this piece. Not the BOLD colors in other pieces we’ve had, these corrugated and painted ribs show a soft and muted quality, more subtle and subdued. The painted top border of vines, with the black background resemble flowing hearts. Then the same imagery on the lid has them in the vertical direction, divided by soft rectangular polychrome panels of reds, tans and oranges. These vine and floral drawings fit the shape wonderfully. The lid is stunning, even the added small triangular black triangles on the tan/orange handle adds so much to the overall visual aesthetic! I really like how those triangles are repeated on the border of the lid, the lip of the bowl, and the border of the bottom quadrant of the bowl. It is a complete design, from top to bottom.

6″ high by 8″ wide

Categories: , Artist:

Richard Zane Smith

Wyandot

Born in 1955 in Augusta Georgia, Richard Zane Smith is regarded as one of the most unique contemporary potters. Richard Zane Smith is a potter of Wyandot whose remarkable pots consist of small hand rolled coils of natural clays, which inspired by prehistoric corrugated pottery of the Southwest which then is slip painted. His pieces look like beautifully woven baskets – but when one looks closely, you realize that they are actually works of clay, in Richard’s own unique style of corrugation. Richard was inspired by corrugated shards from hundreds of years ago. His work is easily identifiable, as he often adds contemporary intricate designs using fascinating color combinations and added materials like stone and wood.

Here are a few words from Richard as he explains his interest in the art form. “My art education began as a child at home in Missouri. In the evenings all five of us kids would gather round listening and drawing quietly while Dad or Mom would read wonderful books to us. Clay excited me from high school and all through my art school years though I enjoyed working with all kinds of natural materials, from leather to stone to wood. During these years, investigating my own native (Wyandot) roots became something of an obsession with me. In 1978, I worked as an art instructor at a Navajo mission school in Arizona. It was there that I was first exposed to native clays, and Anasazi pot sherds. Having a rich yet mixed-blooded heritage has been difficult for me at times to sort things out and it still provides its challenges. But I am actively involved with other Wendat/Wyandots who are restoring traditions and reviving our language. I have a dream to help restore to our people the pottery traditions of our ancestors as has happened among the Pueblo peoples of the Southwest.”

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