A Collector’s Guide to the Artists and Their Development
The modern Six Nations pottery movement represents one of the most important Indigenous ceramic revivals in Canada. During the 1960s and 1970s, a small group of Mohawk artists at Six Nations successfully reintroduced and reimagined a pottery tradition that had largely disappeared as a living art form for centuries.
This timeline is based primarily on the artist biographies and interviews published in Iroquois Arts: A Directory of a People and Their Work (Association for the Advancement of Native North American Arts and Crafts, 1983). This pottery section was compiled between 1978 and 1979, making it an invaluable contemporary record created while many of the founding artists were still actively working.
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Before 1960
Ancient Haudenosaunee (Iroquois) pottery survived through archaeological finds, museum collections, pottery shards, and historical research. Traditional forms and decorative elements remained known, but pottery was no longer widely practiced as an active artistic tradition at Six Nations.
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1960: The Spark
The revival begins when Tess Kidick teaches pottery to a group of Six Nations artists.
Although not considered a founder of the movement itself, Kidick served as the crucial instructor whose technical training provided the foundation for everything that followed.
Among her students were:
• Elda (Bun) Smith
• Oliver Smith
• Sylvia Smith
• Karen Williams
• Dee Martin
These artists would become the first generation of the modern Six Nations pottery revival.
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1960-1965: Research and Experimentation
After learning pottery techniques, Elda Smith and Oliver Smith began studying early Iroquoian pottery forms and decorative motifs.
Rather than reproducing ancient pottery exactly, they developed a contemporary style inspired by:
• Archaeological pottery fragments
• Traditional linear designs
• Clan symbolism
• Tree of Peace imagery
• Animal forms
• Ancient vessel shapes
The artists experimented with hand-building, wheel throwing, glazes, clay bodies, slips, firing methods, and decorative techniques.
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1965: The Emergence of Mohawk Pottery
By the mid-1960s, Elda and Oliver Smith had become the central figures in the revival.
The book repeatedly credits them with:
• Developing pottery at Six Nations
• Teaching other artists
• Conducting design research
• Building a pottery community
• Reviving an almost vanished Iroquois art form
Their workshop became known as Mohawk Pottery, which would serve as the training ground for many future artists.
At about the same time, Darlene Smith was introduced to pottery by Elda Smith and soon became one of the movement’s leading artists.
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Late 1960s: Building a Movement
What began as a small pottery class evolved into a community-wide artistic movement.
Artists joining or developing during this period included:
• Darlene Smith
• Sylvia Smith
• Karen Williams
• Dee Martin
• Anne Scott
• Joanne Smith
• Thelma Beaver
Each artist brought personal interpretations to the emerging Six Nations style while remaining connected to traditional themes and forms.
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1969-1975: Recognition and Expansion
The work of Six Nations potters gained increasing recognition throughout Ontario, Canada, and the United States.
Artists exhibited at:
• Craft shows
• Art exhibitions
• Museums
• Educational demonstrations
• Indigenous art festivals
Works entered significant collections, including the Royal Ontario Museum.
Distinctive characteristics of Six Nations pottery during this period included:
• Brown-slip decoration
• Incised geometric patterns
• Clan symbols
• Tree of Peace imagery
• Functional pottery forms
• Sculptural interpretations of traditional themes
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1971: Anne Scott Joins the Tradition
Anne Scott began studying under Elda Smith.
She became particularly known for:
• Bells
• Covered dishes
• Sculptural pottery
• Functional stoneware
Her work demonstrates how artists were beginning to move beyond historical forms while remaining rooted in Six Nations pottery traditions.
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1975: Kanyengeh Pottery
Following the growth of the movement and changes within the original group, Kanyengeh Pottery emerged as an important center for pottery production and teaching.
Artists associated with Kanyengeh included:
• Sylvia Smith
• Karen Williams
• Dee Martin
• Anne Scott
• Joanne Smith
• Thelma Beaver
The studio helped expand pottery production while preserving the artistic language developed during the revival years.
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1976: The Loss of Elda Smith
The death of Elda (Bun) Smith marked a significant moment in the history of Six Nations pottery.
By this time, however, her influence had already shaped an entire generation of artists.
Many biographies in the 1979 directory reference Elda Smith as a teacher, mentor, or source of inspiration.
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Late 1970s: The Second Generation
By the time Iroquois Arts was compiled in 1978-1979, a second generation of artists was already emerging.
Sara Smith
Daughter of Elda and Oliver Smith, Sara became known for narrative pottery featuring:
• Iroquois festivals
• Clan stories
• Legends
• Historical themes
Many of her pieces incorporated detailed symbolic imagery paired with interpretive descriptions.
Steve Smith and Leigh Smith
Working as Talking Earth Pottery, Steve and Leigh Smith continued the Six Nations pottery tradition while introducing their own innovations.
Their work incorporated:
• Tree of Peace imagery
• Turtle motifs
• Floral designs
• Geometric decoration
• Freehand incising
• Experimental clay bodies and slips
Their pottery reflects both continuity and evolution within the tradition.
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Beyond Six Nations
The revival’s influence extended into other Haudenosaunee communities.
Tyendinaga
Dennis Lewis began studying pottery in 1975 and became known for both wheel-thrown and hand-built work.
Tuscarora
Mary Pembleton combined ceramics with painting, beadwork, and education, reflecting the broader Indigenous cultural renaissance occurring during the same period.
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Important Artists for Collectors
Foundational Teacher
Tess Kidick
• Instructor who trained the first generation of Six Nations potters beginning in 1960.
Founders of the Modern Six Nations Pottery Revival
Elda (Bun) Smith (1918-1976)
Oliver Smith (1911-1979)
These artists developed the movement, established Mohawk Pottery, studied historical Iroquois ceramics, trained subsequent artists, and created the visual foundation of modern Six Nations pottery.
First Generation Revival Artists
• Darlene Smith
• Sylvia Smith
• Karen Williams
• Dee Martin
• Anne Scott
• Joanne Smith
• Thelma Beaver
Second Generation Artists
• Sara Smith
• Steve Smith
• Leigh Smith
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Why This History Matters
For collectors, understanding the lineage of Six Nations pottery adds important context to individual pieces. Works by Elda and Oliver Smith represent the foundation of the revival, while artists such as Darlene Smith, Sylvia Smith, Anne Scott, Karen Williams, and Dee Martin helped transform a local initiative into a recognized Indigenous art movement. The second generation, including Sara Smith, Steve Smith and Leigh Smith, expanded the tradition while maintaining connections to the original Mohawk Pottery style.
Together, these artists created one of the most significant Indigenous ceramic movements of the twentieth century, ensuring that Haudenosaunee pottery became a living artistic tradition once again.
Source: Iroquois Arts: A Directory of a People and Their Work, Association for the Advancement of Native North American Arts and Crafts (AANNAAC), 1983. Artist biographies and interviews compiled 1978-1979.