Lorena Montero
Lorena Montero (born 1960, Honduras) had passed by Lincoln Square Pottery Studio - Learning Center ever since her children were young. She always wished she could join the creative space, but was a little intimidated to just walk in and pick up a new art form. When her son turned 18, he surprised her with a gift certificate for the beginner wheel throwing class. She was excited, and with her son’s encouraged she went.
Although she didn’t connect well with wheel throwing, she did instantly make a good friend in the class. Andrea Macias, also a first time student at the studio, cozied up to her. Macias helped with some English language translations, making it easier for Montero to understand the demos given by instructor Meg Biddle. Although she enjoyed the lessons, Montero’s coordination wasn’t all she hoped for. She created a few pieces (rather heavy), and resolved not to continue on. Biddle encouraged both her and Macias to join the Friday night hand building class. She thought the techniques of pinching and slab building would be appealing to both women. Biddle was right, the artists took to it like fish to water. Montero’s creative world opened up.
Those who have gotten to know the soft-spoken Montero know that she has an affinity towards chickens. She’s continuously created chickens and roosters over the years at LSPS-LC. The first piece was an interprative copy of an egg holding vessel seen at her brother’s house. She used slabs and draped them on hump molds. Crunched up newspaper served as a way for the clay to keep its form and dry in the correct shape. Montero used fabric doilies to press patterns into the bird’s tail and wings for a whimsical and feathery look. She was pleased with the results, and family and friends started to request the lovely little sculptures for their own homes.
Montero’s connection to chickens can be traced back to her childhood and growing up with her grandmother, Diamantina in the Honduran capitol Tegucigalpa. Her grandmother did it all; raised her, baked incredible breads, cooked meals and sweets from scratch. The daily eggs from the chickens were put to good use, and Montero loved to watch the birds interact with each other. Her favorite chicken “Chicho” was more like a dog than fowl. Affectionate and docile, this petite black and white bird was her pet. One day Chicho disappeared and there was a delicious chicken dinner served that night. Montero clearly kept the little friend in her heart, and now sculpts birds from memory.
The creative process was always part of Montero’s life. She created paper flowers and paper-mache vases (then painted) with Diamantina as well. She spent a lot of time with her great-grandparents, even though they lived 6 hours away. Her time there was mostly running and playing. She reveled in splashing around in the river, and also helped do laundry in the same waters. The lush environment was filled with earth-tones and warm browns. Montero loves using studio glazes with similar hues; sargasso, mottled toffee and nutmeg. Her favorite firing effect is when the copper minerals in the studio’s red clay interact with the glazes to create a warm and speckled surface. Some of her color choices almost resemble a river bed, or at the very least a verdant landscape.
Montero moved to the U.S. in 1986, joining her mother after many years apart. She settled into the Chicago city routine and met her partner five years later. After 12 years with her mother, Montero, her partner and three children moved into a place of their own. She was able to see her beloved grandmother at least once a year, and sent many letters as well. She was proud of her granddaughter and let her know it. Her children, now 29, 26 and 22, are proud too (and still get excited when she brings home new work from the studio)!
The artist has cleaned houses for many years, and has clients that have requested her expert touch for close to two decades. It’s hard work, but time at the studio helps her relax and center. Hand building is good for her on many levels. She can concentrate on what she’s doing, but still listen to the interesting conversations around her. Montero is not big on being in the spotlight, so she’ll take part in the discussions when prompted. The artist really likes everyone she works alongside, and feels a real sense of community whenever she’s there.
Montero was strongly encouraged to take her wares to the Glenwood Avenue Arts Fest in Roger’s Park (Chicago) in 2021. Although a little hesitant at first (she’d never done a show before), the artist joined the studio event and put dozens of her pieces out on display. Teapots, platters, birds, bowls and coasters dotted her 5’ table. She thrived on interaction with the public, seeing the work of other artists (she walked around the fair to look) and generally enjoyed the unique art event.
Things that seemed intimidating back in 2017 concerning ceramics eventually dissolved. Montero herself says she now feels very confident because of all the things she’s able to do at the studio. The artist listens intently to every demo Meg Biddle gives, and more often than not actually tries the techniques. By opening her mind to all the information available, Montero can pretty much apply any technique learned in the past 5 years. This give her great determination and joy when she sits down to start a new project.
Montero’s newest bold experiment is with the studio’s black stoneware clay. The clay body has a lot of grog in it (grit that gives clay stability) and is difficult to use if not familiar with it. Montero isn’t giving up on the clay because she’s loving the stark contrast between the bright glazes and the matte black surfaces. She admits not everything she makes is perfect, but she’s satisfied with her efforts and results. The artist hopes to be part of the studio for a very long time to come, as well as continuing to soak up every drop of ceramics knowledge!