Archaeologists widely argue that Fremont potters from the Parowan Valley, in southwestern Utah, manufactured Snake Valley pottery. For my thesis, I examined Snake Valley Black-on-gray rim sherds using neutron activation analysis, oxidation analysis, metric data, and statistical methods. I compared my results on Snake Valley Black-on-gray sherds from three archaeological sites within the Parowan Valley (Paragonah, Parowan, and Evans Mound) to my results on Snake Valley Black-on-gray sherds recovered from three archaeological sites over 250 kilometers to the north (South Temple, Block 49, and Wolf Village). I argue that the Snake Valley Black-on-gray ceramics from the northern sites are tradewares selected from the Parowan Valley sites. My research expands on the limited knowledge of the painted variety of Snake Valley pottery; as well as provides insight into the overall understanding of Snake Valley Black-on-gray distribution among different geographical regions within the Fremont culture.

Archaeologists widely argue that Fremont potters from the Parowan Valley, in southwestern Utah, manufactured Snake Valley pottery. For my thesis, I examined Snake Valley Black-on-gray rim sherds using neutron activation analysis, oxidation analysis, metric data, and statistical methods. I compared my results on Snake Valley Black-on-gray sherds from three archaeological sites within the Parowan Valley (Paragonah, Parowan, and Evans Mound) to my results on Snake Valley Black-on-gray sherds recovered from three archaeological sites over 250 kilometers to the north (South Temple, Block 49, and Wolf Village). I argue that the Snake Valley Black-on-gray ceramics from the northern sites are tradewares selected from the Parowan Valley sites. My research expands on the limited knowledge of the painted variety of Snake Valley pottery; as well as provides insight into the overall understanding of Snake Valley Black-on-gray distribution among different geographical regions within the Fremont culture.

Although Fremont ceramic design styles have the potential to tell archaeologists a great deal about Fremont social interaction and boundaries, they have never been studied in detail. In the Fremont world, painted designs appear almost exclusively on the inside of bowls produced in two different regions of Utah. The firstis the Snake Valley production zone in southwestern Utah where Snake Valley Black-on-gray was produced; the second is the Emery production zone in central Utah where white-slipped Ivie Creek Black-on-white bowls were produced. The similarities in designs on the two main types of Fremont painted bowls indicates regional interaction and exchange of both materials and ideas between the two production zones, while the differences suggest regional distinctions existed within a larger Fremont complex.