AUTHOR: Paul H.

Devoti TITLE: THREE GENERATIONS: Potters of San Juan de Oriente, Nicaragua SOURCE: Ceramics Monthly 50 no8 55-7 O 2002 (C) Copyright by the American Ceramic Society. All rights reserved. Reflecting cultural influences from Maya, Aztec, Inca and various auxiliary tribes, the pottery tradition of Nicaragua dates back thousands of years. When the Inter-American Development Bank hosted an exhibition of pre-Columbian and contemporary pottery from Nicaragua at their Cultural Center Art Gallery in Washington, D.C., an accompanying publication described in detail the pre-Columbian history of Nicaraguan ceramics. Some pieces dated back to 1500 B.C., with more advanced work dating closer to 500 B.C. In surveying contemporary ceramics of San Juan de Oriente, Nicaragua, two distinctions can be made: ceramics based on pre-Columbian form and pattern; and works incorporating contemporary techniques and designs. Gregorio Bracamonte and Helio Gutierrez are the two local artists most influential in these respective styles. Bracamonte is recognized as the purveyor and teacher of pre-Columbian style, and is one of the few who maintained the secrets of symbolism and technique, while the rest of the pueblo turned to farming and ranching as means of supporting their families. During the resurgence of the ceramic tradition, he has shared his knowledge with many young artists. Helio Gutierrez began his studies with el maestro as a young boy in the late 1970s. Bracamonte taught Gutierrez how to tap the sap from the mora tree. The sap or milk, known as leche de mora, is the base for the pigments long used by native potters in Mesoamerica to decorate their vessels. The preparation of these pigments involves a process of adding natural elements to produce a limited palette of silky pigments. As a student, Gutierrez demonstrated a capacity to decorate with a fluidity and grace Bracamonte had never seen--past or present. In 1986, at age 21, Gutierrez completed his apprenticeship with Bracamonte, and, in his own words, "set out to discover a style that I could call my own." As a result, local and national competitions began to see a bold new variety of ceramics--designs were conceived not in the traditional pre-Columbian motifs but in highly sophisticated geometric patterns. Complementing these new designs were a number of technical innovations, such as embossing in relief, incisings and delicate textures resembling reptilian skin, as well as a variety of new forms. These pieces were undeniably original, and their maker was on his way to representing both himself and Nicaragua in the international arena. In the early 1990s, Nicaragua was starting to recover from political and economic troubles. Gutierrez primarily participated in showings at local embassies, and received commissions from heads of state. In 1992, the work of Helio Gutierrez and the pueblo of San Juan de Oriente received special attention at the World's Fair in Seville, Spain. He would later earn recognition as "most outstanding" in the ceramics category, accepting the award directly from King Juan Carlos. Gutierrez has also participated in exhibitions in Taiwan, Croatia, China, Cuba and many other Latin American countries. But it wasn't until the Inter-American Development Bank (IDB) event in 1996 that the United States was exposed to his work. A Gutierrez pot is now part of the permanent collection at IDB. As an international eye turned toward this village, local artisans began to produce a far more refined product than what had previously been available to tourists in the local markets. Helio Gutierrez had provided not only an example of international success, but also had liberated producers from solely elaborating on pre-Columbian designs and making replicas. Other artists copied and manipulated his techniques and designs to compete in this new bustling market.

This development has transformed a traditional craft into a thriving contemporary movement, helping artisans provide for their families within a struggling economy. From a technical point of view, the process utilized by local potters has changed in two significant areas: the use of a potter's wheel in forming vessels; and the use of wood-fired kilns, rather than an open pit. Innovations in design have helped attract the attention of international buyers. Those who place high-volume orders have been less receptive to local and traditional designs as they cater to the current trends of wholesale markets in the United States and Europe. A major component in the allure of Nicaraguan ceramics to the international buyer is the level of sophistication found in contemporary styles and design. Although flattered by the influence his work has had throughout the village, Gutierrez is motivated to separate himself, maintaining his reputation as an innovator and creator, finding inspiration in his dreams and the elements of nature. Attention to detail in design, form, polishing and finishing are also distinguishing traits of his work. These are qualities that he has instilled in the small group of emerging artists who study with him. A nephew, Juan Boza Gutierrez, is an outstanding example of the new generation of San Juan de Oriente potters. Juan, also the godson of pre-Columbian master Gregorio Bracamonte, has had the benefit of watching these influential potters work throughout all of his 20 years. His development is interesting because his style is not weighted toward a preference for the traditional or contemporary, but a unique combination of the two. Although generations removed from tribal life, this trio of ceramics artists maintains spiritual connections, while continually challenging themselves to develop unique additions to their cultural history. ADDED MATERIAL Vessels with "Piranha" motif (left), approximately 7 inches (18 centimeters) in height, and "Fish in Movement" motif with footprint (right), wheel-thrown, altered, burnished and fired with wood, by Helio Gutierrez. "Tapir," approximately 7 inches (18 centimeters) in height, vessel based on a pre-Columbian design, handbuilt, with organic pigments, fired in an open pit, by Gregorio Bracamonte. [Text Incomplete In Journal] Tall bottle, 13 inches (33 centimeters) in height, wheel thrown, with oxides over engobe, incised and chipped to reveal clay texture and color, wood fired, by Helio Gutierrez, San Juan de Oriente, Nicaragua. PHOTOS: COURTESY OF RANDOLPH COMMUNITY COLLEGE