Category Archives: Mexico

Q: When did your love of indigenous artifacts begin? Where have you traveled to collect these focal points of your works and what have those experiences taught you?

Mexico City

Mexico City

A:  As a Christmas present in 1991 my future sister-in-law sent me two brightly painted wooden animal figures from Oaxaca, Mexico. One was a blue polka-dotted winged horse.  The other was a red, white, and black bear-like figure. 

I was enthralled with this gift and the timing was fortuitous because I had been searching for new subject matter to paint. I started asking artist-friends about Oaxaca and learned that it was an important art hub.  Two well-known Mexican painters, Rufino Tamayo and Francisco Toledo, had gotten their start there, as had master photographer Manuel Alvarez Bravo.  There was a “Oaxacan School of Painting” (‘school’ meaning a style) and Alvarez Bravo had established a photography school there (the building/institution kind). I began reading everything I could find.  At the time I had only been to Mexico very briefly, in 1975.  

The following autumn, Bryan and I planned a two-week trip to visit Mexico. We timed it to see Day of the Dead celebrations in Oaxaca.  (During my research I had become fascinated with this festival).  We spent one week in Oaxaca followed by one week in Mexico City.  My interest in collecting Mexican folk art was off and running!

Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns for the “Day of the Dead.” The indigenous people tending their ancestors’ graves were so dignified and so gracious, even with so many mostly-American tourists tromping around on a sacred night, that I couldn’t help being taken with these beautiful people and their beliefs. 

From Oaxaca we traveled to Mexico City, where again I was entranced, but this time by the rich and ancient history.  We visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Mesoamerican civilizations; the ancient city of Teotihuacan, which the Aztecs discovered as an abandoned city and then occupied as their own; and the Templo Mayor, the historic center of the Aztec empire, infamous as a place of human sacrifice.  I was astounded!  Why had I never learned in school about Mexico, this highly developed cradle of Western civilization in our own hemisphere, when so much time had been devoted to the cultures of Egypt, Greece, and elsewhere? When I returned home to Virginia I began reading everything I could find about ancient Mexican civilizations, including the Olmec, Zapotec, Mixtec, Aztec, and Maya. The first trip to Mexico opened up a whole new world and was to profoundly influence my future work. I would return there many more times, most recently to study Olmec art and archeology. In subsequent years I have traveled to Guatemala, Peru, Bolivia and other countries in search of inspiration and subject matter to depict in my work.

Comments are welcome!

Q: As you reflect on your overall art career beginning with your art education, what major event stands out as an important sign that you were headed in the right direction?

"His Mortal Enemy Was Poised Ready to Strike," soft pastel on sandpaper

“His Mortal Enemy Was Poised Ready to Strike,” soft pastel on sandpaper

A:  In 1989 I left a career in the Navy to pursue life as a full-time professional artist.  In July 1996 Bryan and I were traveling in Mexico.  Something told me to check the phone messages at our Virginia house so I did.  

There was a message from Mia Kim, the director of Brewster Arts Ltd. on West 57th Street in Manhattan, requesting a dozen large pastel paintings for a two-person exhibition in October, just three months away!

At the time I was still living in Alexandria, Virginia so exhibiting in Manhattan – let alone securing prestigious gallery representation – seemed a far-off dream.   Yes, I had sent Mia slides, but she had not seen my work in person.   She first saw my “Domestic Threats” pastel paintings when I delivered them to the gallery for exhibition.  The show was called “Monkey Business.”

Brewster Arts was an elegant New York gallery that specialized in Latin American Art.  There was just one other non-Latina artist that Mia represented, Leonora Carrington, whom I met that October at my opening.   I remember Mia introducing me and declaring to the entire crowd, “Barbara has the SOUL of a Latina.”  I’ve always loved that.  It was the first time I realized I was really on my way!

Brewster Arts Ltd. continued to represent my work until the gallery closed some years later.

Comments are welcome!

Q: What was the first folk art figure you brought back from Mexico?

Mask from Oaxaca

Mask from Oaxaca

A:  In Oaxaca I bought a large carved wooden dragon mask with a Conquistador’s face carved and painted on its back.  My intent was to depict the dragon in a subsequent “Domestic Threats” painting (the series I was working on at the time).  The dragon still hangs in my living room in Alexandria, VA.

This first trip in 1992 was a revelation and marked the start of my on-going love of Mexico:  its people, landscapes, ancient cultures, archaeology, history, art, cuisine, etc. There would be many subsequent trips to Mexico to learn as much as I can about this endlessly interesting cradle of civilization.

Comments are welcome!

Q: Does your attraction to Mexican folk art have anything to do with the way you see life or your taste for color?

Studio corner

Studio corner

A:  Initially, it was the fact that these folk-art figures opened up an entire new world to me.  I had learned almost nothing about Mexico in school, a fact I found mystifying, considering Mexico is the United States’ southern neighbor. 

When I started collecting, I was launched on a rich intellectual adventure with seemingly no end.  The folk art figures had so much to teach and prompted many questions.  Most were unanswerable, but still, I was curious:  who made them, why, how, what did they represent, what did they reveal about the maker’s worldview, how did they fit in with historical and contemporary forces, etc.

Comments are welcome!

Q: Why did you first decide to depict Mexican folk art in your work?

"Myth Meets Dream," soft pastel on sandpaper, 47" x 38"

“Myth Meets Dream,” soft pastel on sandpaper, 47″ x 38″

A:  As a Christmas present in 1991 my future sister-in-law sent me two brightly painted wooden animal figures from Oaxaca, Mexico. One was a blue polka-dotted winged horse.  The other was a red, white, and black bear-like figure.  See the two Mexican figures in “Myth Meets Dream” above.

I was enthralled with this gift and the timing was fortuitous because I had been searching for new subject matter to paint. Soon I started asking artist-friends about Oaxaca and learned that it was an important art hub.  Two well-known Mexican painters, Rufino Tamayo and Francisco Toledo, had gotten their start there, as had master photographer Manual Alvarez Bravo.  There was a “Oaxacan School of Painting” (‘school’ meaning a style, not an actual building) and Alvarez Bravo had established a photography school there (the building/institution kind). I began reading everything I could find.  At the time I had only been to Mexico very briefly, in 1975, having made a road trip to Ensenada with my cousin and best friend from college. 

The following autumn my then-boyfriend, Bryan, and I planned a two-week trip to visit Mexico. We timed it to see Day of the Dead celebrations in Oaxaca.  (In my reading I had become fascinated with this unique festival).  We spent one week in Oaxaca followed by one week in Mexico City.  My interest in collecting Mexican folk art was off and running!  

Comments are welcome!

 

Travel photo of the month*

New Year’s Eve in Los Cabos, Mexico

New Year’s Eve in Los Cabos, Mexico

*Favorite travel photographs that have not yet appeared in this blog.

Comments are welcome!

Pearls from artists* # 288

Los Cabos, Mexico

Los Cabos, Mexico

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

I always forget how important the empty days are, how important it may be sometimes not to expect to produce anything, even a few lines in a journal.  I am still pursued by a neurosis about work inherited from my father.  A day where one has not pushed oneself to the limit seems a damaged damaging day, a sinful day.  Not so!  The most valuable thing we can do for the psyche, occasionally, is to let it rest, wander, live in the changing light of a room, not try to be or do anything whatever.  

May Sarton in Journal of a Solitude: The intimate diary of a year in the life of a creative woman

Comments are welcome!

Pearls from artists* # 286

Museo de Antropología de Xalapa

Museo de Antropología de Xalapa

*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

All real art is or was modern in its time,

daring and new,

demonstrating a constant change in seeing and feeling.

If revival had been a perpetual virtue,

we would still live in caves and earth pits.

In art, tradition is to create,

not to revive.        

Joseph Albers quoted in Ruins in Reverse by Lauren Hinkson in Joseph Albers in Mexico

Comments are welcome!

Travel photo of the month*

Morning in Los Cabos, Mexico

Morning in Los Cabos, Mexico

*Favorite travel photographs that have not yet appeared in this blog.

Comments are welcome!

Q: Would you share your elevator pitch?

Barbara's studio

Barbara’s studio

A:  Here it is:

I live in New York and have been a working artist for thirty years.  I create original pastel paintings that use my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mache figures, and toys – as subject matter.  

Blending with my fingers, I spend months painstakingly applying dozens of layers of soft pastel onto acid-free sandpaper.  My self-invented technique achieves extraordinarily rich, vibrant color and results in paintings that uniquely combine reality, fantasy, and autobiography.

My background is extremely unusual for an artist.  I am a pilot, a retired Navy Commander, and a 9/11 widow.

Please see the extensive interview (14 pages so page through) at

http://barbararachko.com/images/PDFS/ARTiculAction-July2014.pdf

and see images and more at http://barbararachko.com/en/

Comments are welcome!  

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