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expression in Ortiz’s work.
For example, Virgil started incorporating images and design involving bondage and S&M into figures and vessels. In Charles King’s book, Revolution, many are categorized under the theme “Voyeurs,”, examples of which include: Bondage Figure (1990s), S&M Transformers (1990s); Seahorse Bust (2004) featuring a silver mouth cover; Sweet Pain (2005); and Dominatrix (2009). Another category from the time is “Taboo,” where the social commentary is expanded upon: examples include Rise Up (2016), with a Trumpian figure on a vessel; Nature of the Beast (2017), involving people living out their fantasies; alter-Native Equality (2017) featuring an image from 1886 of two-spirit We’wha (or We’Whai) from the Library at the College of State Island of the City University of New York; Hate is a Drag (2019), addressing gender roles; and Puppy Power (2019), addressing love and affection.
While most artists work a lifetime to perfect a single craft, Ortiz easily moves across mediums. One wonders if this faculty is due to pure distillation of extraordinary talent (and hard work) or his strong rooting in his culture, or both. Examining Virgil’s work in the fashion industry offers up some insight.
In a collection produced in collaboration with Donna Karan in 2002-2003, which brought him to international attention, Ortiz’s graphic fashion statement was stunning, bold, and unique. The pattern printed fabrics and layered and stitched leathers featured rain clouds, spinach leaves and other Puebloan motifs most often used on pottery. The collection was an instant hit.
Fashion remains an arena in which Virgil continues to perform. In his own line of fashion (Virgil Ortiz), Virgil’s design and home décor objects incorporate both ceramic motifs and design elements that reference his life experience. This blending of tradition and contemporary life can also be seen in his new more experimental work involving collaborations with the Rockwell Museum and the Corning Museum of Glass (2015). And it can be seen in newer, larger works created at the Archie Bray Foundation for the Ceramic Arts in Helena, a place that has large kilns capable of firing at much higher heat, and in objects which were recently displayed in the “Shadow and Light” opening exhibition of the Vladem Contemporary Museum in Santa Fe, New Mexico, as well as a video/film selection entitled includes Leviathan: Plight of the Recon Watchmen.
Pueblo Revolt 2180
All converges in what is Ortiz’s interest in moving the narrative forward in a feature length film involving a new pueblo revolt, this time occurring in the future – 2180 to be exact. It is a
dystopian tale set in a future, where destruction has been wrought on future pueblos by future colonialists, climate change, and nuclear weapons.
The story line that informs the screenplay centers on 19 characters that represent the 19 pueblos in New Mexico situated in the Rio Grande Valley. Characters populating the story include the Watchmen, the Blind Archers, the Translator Army, the Venutian Soldiers, etc. – all of which have been created as ceramic figures or sketches or introduced in graphic novels or in videos or film segments. Inspiration for some of these characters has been derived from sketches and models and storylines developed in the past (Runners and Mopez Jar was introduced in 2008, Venutian Soldiers was introduced in 2012), but which were always part
of Ortiz’s larger film vision. And of course, Virgil
Opposite:
Selections of Ortiz's Work
To learn more about Virgil and see more of his work, you can purchase the book,
Virgil Ortiz: Revolution,
at: https://www.virgilortiz.com/