Book Review by Rachelle Chinnery

Messages From the High Desert:
The Art, Archaeology and Renaissance of

Mesa Verde Pottery
By Clint Swink
Redtail Press, Bayfield, Colorado, 2004
ISBN 0-9744263-0-X
Hard Cover, 321 pages, B&W photos

Author Clint Swink had been painting elephants in the
Sudan before moving to the American South West, where he
then began to paint scenes of the Mesa Verde area of
Colorado. In time, Anasazi pots crept into the corners of the
canvas and while there were shards in the desert, there were
no whole pots.

Swink began making his own Anasazi style of pottery to use
for models in his paintings and found the research material
on technique for this type of pottery extremely lacking. He
also found that using commercial products to produce tradi-
tional pots was “aesthetically unacceptable”. Swink says “I
abandoned making pots for appearance’s sake and began the
difficult search for the process, believing that if the process
was right the appearance would follow”. He also states that
his research and rediscovery of the techniques to make
Anasazi pottery “created a new school of ceramic art and,
eventually, global archaeological recognition of the value of
dedicated. authentic replication”. This claim only extends to
his research on pueblo pottery in “Messages”, but Swink does
make a strong case for the importance of pottery replication
in the American Southwest.

Clint Swink refers to himself as a “an Anasazi pottery replica-
tor”. He does not claim cultural ownership of the craft. The
controversial topic of appropriation is not covered in the
book. However, Swink repeatedly and strictly refers to what
he does as ‘replication’. The book is divided into 13 chapters
including: “Replication: A New Look at Old Pottery’,
“Basics: Wedging, Coiling, and Tools of the Trade”,

“Mesa Verde Ceramic Language: The “Nuts and Bolts” of the
Painting Business”. Swink makes Anasazi pots the way
pueblo potters did in the past and each chapter deals with the
ancient ceramic process accordingly. He documents all stages
of clay harvesting, preparation, building techniques and sur-
face treatment based on his own trial, error and archeological
research. The pots he makes are not ever of his own design;

they are always a replica of a historical pot.

The photography is black and white, which is not a detri-
ment in this case, as the pots themselves are black and white.
Each historical piece has been photographed with the very
effective technique of using a three-way mirror to maximize
the views of the piece per photo. Swink’s analysis of histori-
cal technique is meticulously thorough and each of the chap-
ters carefully explains details as fine as which type of yucca
fiber or deer hair to make brushes with, and how many
strands are appropriate for painting a particular design.
“Messages” is a unique publication written by an artist with a
focused and unique calling. It is a fascinating read for anyone
with an interest in pueblo pots and ancient potting tech-
nique.

Rachelle Chinnery

TransFormations

TransFormations is the Guild’s 50th “flagship” show, and will be at Burnaby Art

Gallery, August 9th to Sept 10th with an opening reception Aug 10th, 5 - 8 pm.

Everyone in the Guild is invited, and everyone in the Guild will get an invitation in

July. We want everyone to come!

20

Potters Guild of British Columbia Newsletter

July/August 2005