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Inez Ortiz
Cochiti
Juanita Inez Ortiz was born into Cochiti Pueblo in August 1960 and passed on in 2008. Her mother was Seferina Ortiz, her grandmother was Laurencita Herrera. Among her siblings were Joyce Lewis, Mary Janice Ortiz, Virgil Ortiz, Leon Ortiz and Angie Ortiz. All of Seferina's children helped their mother and grandmother make pottery but not all of them were good at it. Inez was very good.
Inez was producing pottery for the market when she was in her early 20s. She made the usual polychrome jars and bowls but where her artistry really stood out was with her figures and her storytellers. She also liked to make owls, bears, turtles and clay drums. In her words: "Making pottery is my hobby. It is very calming, without stress."
Inez was a participant at the Santa Fe Indian Market for several years, earning Best of Division, First and Second Place ribbons in 1999 and all three again in 2000.
Lisa Holt, Krystal Henderson and Katherine Ortiz are Inez' daughters.
Cochiti Pueblo
View west across Cochiti Pueblo
Cochiti Pueblo lies fifteen miles south of Santa Fe along the west bank of the Rio Grande. Frijoles Canyon in what is now Bandelier National Monument is the site of the pueblo's most recent ancestral home. The Eastern Keresans may have relocated to the Bandelier area from the Four Corners region around 1300.
Cochiti legend says that Clay Old Woman and Clay Old Man came to visit the Cochitis. While all the people watched, Clay Old Woman shaped a pot. Clay Old Man danced too close and kicked the pot. He rolled the clay from the broken pot into a ball, gave a piece to all the women in the village and told them never to forget to make pottery.
At Bandelier National Monument
In prehistoric times, human effigy pots, animals, duck canteens and bird shaped pitchers with beaks as spouts were common productions of the Cochiti potters. Many of these were condemned as idols and destroyed by the Franciscan priests. That problem stopped when the Spanish left in 1820 but the fantastic array of figurines created by Cochiti potters was essentially dormant until the railroad arrived. Then Cochiti potters were among the first to enter the tourist market and they produced many whimsical figures into the early 1900s. Then production followed the market into more conventional shapes.
Legend has it that a Ringling Brothers Circus train broke down near Cochiti Pueblo in the 1920s. Supposedly, the tribe's contact with the ringmaster, trapeze artists, opera singers, sideshow quot;freaks" and exotic animals paved the way for a variety of new figural subjects. However, shortly after the railroad passed through, a delegation of Cochiti men got on the train and traveled to Washington DC. There they were introduced to the President, spoke to Congress, and were taken on a tour of the "highlights" of American civilization in Washington and in New York City, incuding the Metropolitan Opera, the Bronx Zoo and a performance of the Ringling Brothers Circus. As none of the men could read or write, nor draw, what they brought back to Cochiti was what they remembered of things they had never seen before. The stories they told must have been wild. An astute observer will find angels, nativities, cowboys, tourist caricatures, snakes, dinosaurs, turtles, goats, two-headed opera singers, clowns, tattooed strongmen, Moorish nuns and even mermaids in the Cochiti pottery pantheon, many produced only since the early 1960s and based on characters described in Cochiti's oral history.
A few modern potters make traditional styled pots with black and red flowers, animals, clouds, lightning and geometric designs but most Cochiti pottery artists now create figurines. Most notable is the storyteller, a grandfather or grandmother figure with "babies" perched on it. Helen Cordero is credited with creating the first storyteller in 1964 to honor her grandfather. The storyteller style was quickly picked up by other pueblos and each modified the form to match their local situation (ie: clay colors and tribal and religious traditions). In some pueblos, storytellers are also now made as drummers and as a large variety of animals.
Today, Cochiti potters face the challenge of acquiring the clay for the white slip. Construction of Cochiti Dam in the 1960s destroyed their primary source of their trademark white slip and gray clay. Now the white slip comes from one dwindling source at Santo Domingo, Cochiti Pueblo's neighbor to the south.
Most outsiders who visit Cochiti Pueblo these days do so on the way to or from either the recreation area on Cochiti Lake or Kasha-Katuwe Tent Rocks National Monument.
Laurencita Herrera Family Tree
Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.
-
Laurencita Herrera (1912-1984) & Nestor Herrera
- Mary Frances Herrera (1935-1991)
- Dorothy Herrera (1969-)
- Edwin Herrera (1966-) & Mary Herrera
- Mary Ramona Herrera (1970-)
- Seferina Ortiz (1931-2007) & Guadalupe Ortiz
- Joyce Ortiz Lewis (1954-)
- Leslie Lewis
- Mary Janice Ortiz (1956-)
- Kimberly Walker (1978-)
- Juanita Inez Ortiz (1960-2008)
- Krystal Ortiz (1987-)
- Lisa Holt (1980-) & Harlan Reano (1976-)(Santo Domingo)
- Virgil Ortiz (1969-)
- Leon Ortiz & Jackie Ortiz
- Amanda Ortiz (1988-)
- Joyce Ortiz Lewis (1954-)
Some of the above info is drawn from Southern Pueblo Pottery, 2000 Artist Biographies, by Gregory Schaaf, © 2002, Center for Indigenous Arts & Studies
Other info is derived from personal contacts with family members and through interminable searches of the Internet and cross-examination of the data found.
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