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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!

Pearls from artists* # 325

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

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

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

Homo sapiens is the animal that means something, or that desperately wants to mean something.  Undoubtedly our thirst for meaning has a lot to do with our petrifying awareness of death, itself a side effect of the imagination, and one that makes our unique position as much of a curse as it is a gift.

As the prime fruit of the imagination, art is the incontrovertible sign of humanity’s presence on earth.  But what constitutes the human itself?  The prehistoric paintings at Chauvet confront us with a dimension of ourselves that, though familiar in ways, remains in many respects unknown and may ultimately be unknowable.  Human consciousness has access to a powerful otherworld, the place of dreams and myth, poetry and lunacy.  [This is]… the “imaginal,” the name Henry Corbin gave to the intermediate realm, central to the inscrutable mind of God.  As a concrete manifestation of this imaginal realm in the public sphere, art calls us back to the source as a matter of course.      

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!

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