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Steven Peters Biography The Americas |
 Contortionist, Terra Cotta, covered in terra sigillata, Mexico, 200 BCE – 200 CE This figurative vessel was made in the Colima culture of Western Mexico, near the Pacific Ocean. It is thought that this piece was made for a shaft tomb. Such tombs were characterized by a vertical shaft dug 3 to 20 metres down into what was often volcanic tuff. The base of the shaft opened into one or more horizontal chambers, perhaps 4 by 4 metres with a low ceiling. The shaft tombs were often built underneath houses to bury their deceased relatives, often along with ceramic objects such as this. Contortionist, Terra Cotta, covered in terra sigillata, Mexico, 200 BCE – 200 CE This figurative vessel was made in the Colima culture of Western Mexico, near the Pacific Ocean. It is thought that this piece was made for a shaft tomb. Such tombs were characterized by a vertical shaft dug 3 to 20 metres down into what was often volcanic tuff. The base of the shaft opened into one or more horizontal chambers, perhaps 4 by 4 metres with a low ceiling. The shaft tombs were often built underneath houses to bury their deceased relatives, often along with ceramic objects such as this.  Contortionist, Terra Cotta, covered in terra sigillata, Mexico, 200 BCE – 200 CE This figurative vessel was made in the Colima culture of Western Mexico, near the Pacific Ocean. It is thought that this piece was made for a shaft tomb. Such tombs were characterized by a vertical shaft dug 3 to 20 metres down into what was often volcanic tuff. The base of the shaft opened into one or more horizontal chambers, perhaps 4 by 4 metres with a low ceiling. The shaft tombs were often built underneath houses to bury their deceased relatives, often along with ceramic objects such as this.  Painted Beak Pot, Earthenware, Iran, 900-800 BCE This pot was made in Sialk in central Iran. Often called a libations vessel, it was potentially used to pour offerings of water, wine, or oil at religious ceremonies. I thought its long spout suggests that it may have been used for pouring beverages to large groups of people. I made it out of a mixture of white and red earthenware. The body was thrown on the wheel and the handle was pulled. The spout was made by pushing a dowel through a coil and then modeling parts by hand. The design was painted on in a reddish terra sigillata – painting this gave me a lot of respect for the steady hands of the Iranian craftsmen. In particular, I find the relationship between the intricate geometric patterns and the childlike impishness of the bull to be interesting.  Painted Beak Pot, Earthenware, Iran, 900-800 BCE This pot was made in Sialk in central Iran. Often called a libations vessel, it was potentially used to pour offerings of water, wine, or oil at religious ceremonies. I thought its long spout suggests that it may have been used for pouring beverages to large groups of people. I made it out of a mixture of white and red earthenware. The body was thrown on the wheel and the handle was pulled. The spout was made by pushing a dowel through a coil and then modeling parts by hand. The design was painted on in a reddish terra sigillata – painting this gave me a lot of respect for the steady hands of the Iranian craftsmen. In particular, I find the relationship between the intricate geometric patterns and the childlike impishness of the bull to be interesting.  Painted Beak Pot, Earthenware, Iran, 900-800 BCE This pot was made in Sialk in central Iran. Often called a libations vessel, it was potentially used to pour offerings of water, wine, or oil at religious ceremonies. I thought its long spout suggests that it may have been used for pouring beverages to large groups of people. I made it out of a mixture of white and red earthenware. The body was thrown on the wheel and the handle was pulled. The spout was made by pushing a dowel through a coil and then modeling parts by hand. The design was painted on in a reddish terra sigillata – painting this gave me a lot of respect for the steady hands of the Iranian craftsmen. In particular, I find the relationship between the intricate geometric patterns and the childlike impishness of the bull to be interesting.  Painted Beak Pot, Earthenware, Iran, 900-800 BCE This pot was made in Sialk in central Iran. Often called a libations vessel, it was potentially used to pour offerings of water, wine, or oil at religious ceremonies. I thought its long spout suggests that it may have been used for pouring beverages to large groups of people. I made it out of a mixture of white and red earthenware. The body was thrown on the wheel and the handle was pulled. The spout was made by pushing a dowel through a coil and then modeling parts by hand. The design was painted on in a reddish terra sigillata – painting this gave me a lot of respect for the steady hands of the Iranian craftsmen. In particular, I find the relationship between the intricate geometric patterns and the childlike impishness of the bull to be interesting.  Double-spouted Vessel, Earthenware, Southwestern United States, Anasazi Culture, 1200-1300 CE This vessel was made by the Anasazi, or Ancient Pueblo people of the four corners region in Southwestern United States. My research did not uncover any information on the purpose or meaning behind this piece. Perhaps it was used in marriage ceremonies, with the bride and groom drinking together from the two spouts. I made it from buff earthenware covered in white slip and then painted in black glaze (touched up with … magic marker).  Double-spouted Vessel, Earthenware, Southwestern United States, Anasazi Culture, 1200-1300 CE This vessel was made by the Anasazi, or Ancient Pueblo people of the four corners region in Southwestern United States. My research did not uncover any information on the purpose or meaning behind this piece. Perhaps it was used in marriage ceremonies, with the bride and groom drinking together from the two spouts. I made it from buff earthenware covered in white slip and then painted in black glaze (touched up with … magic marker).  Double Headed Figurine, Earthenware, Mexico, 1200-500 BCE This figurine was made in the Tlatilco culture of central Mexico. My research did not uncover any information on the purpose or meaning behind this piece. To me, the two heads suggest a union of duality, with the eyes looking in three directions at once. Although the figure appears female, it has an asexual quality while its legs are firmly connected to the earth. I modeled it out of a mixture of red and white earthenware clay.  Double Headed Figurine, Earthenware, Mexico, 1200-500 BCE This figurine was made in the Tlatilco culture of central Mexico. My research did not uncover any information on the purpose or meaning behind this piece. To me, the two heads suggest a union of duality, with the eyes looking in three directions at once. Although the figure appears female, it has an asexual quality while its legs are firmly connected to the earth. I modeled it out of a mixture of red and white earthenware clay.  I have recently returned to making art after a 30 year hiatus. This class provided a wonderful opportunity to experience ceramics history by making the objects themselves." |
