Richard Zane Smith #7801

$2,500.00

This new piece is quite special for me to have in the gallery now. I had remembered an exceptionally large jar Richard had made in the past, that was based on the theme of a “city scape”. I asked if he might re-visit that theme and make one on the smaller size. He agreed, and the end result is outstanding – just what I had hoped for.

The colors used on this jar are so dynamic. It shows a mesmerizing cityscape design. The coiled shape lends itself so well to this specific depiction of the city. The tall high rise buildings are painted in beautiful shades of reds/oranges/blues/greens/ oranges and purples. Lower down, on the bottom of the shoulder are the cars, moving around in traffic. Incised so the beige/orangish clay shows, they are simply perfect driving below the buildings. To finish the jar, Richard has coiled a footed bottom. The chocolate brown polished rim, slipped to the same tones as the car background balances all the design work beautifully. I am thrilled to have this new Richard creation.

4 ½” high by 6 ½” wide

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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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