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Q: What art project(s) are you working on currently? What is your inspiration or motivation for this? (Question from artamour)  

Source material for “The Champ”
Source material for “The Champ” (my first “Bolivianos” pastel painting) and “Avenger”

A: While traveling in Bolivia in 2017, I visited a mask exhibition at the National Museum of Ethnography and Folklore in La Paz.  The masks were presented against black walls, spot-lit, and looked eerily like 3D versions of my Black Paintings, the series I was working on at the time.  I immediately knew I had stumbled upon a gift.  To date I have completed seventeen pastel paintings in the Bolivianos series.  One awaits finishing touches, another is in progress, and I am planning the next two, one large and one small pastel painting.

The following text is from my “Bolivianos” artist’s statement.

My long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia.  One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.

The masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’).  Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March. 

Carnival in Oruro revolves around three great dances.  The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532.  “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work.  The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins.  The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest).  Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.

The exhibition in La Paz was stunning and dramatic.  Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive.  The whole effect was uncanny.  The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years.  This experience was a gift… I could hardly believe my good fortune!

Knowing I was looking at the birth of a new series – I said as much to my companions as I  remained behind while they explored other parts of the museum – I spent considerable time composing photographs.  Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.

Comments are welcome!

Q: Can you briefly explain how the Bolivian Carnival masks you depict in your work are used?

Museum of Ethnography and Folklore, La Paz, Bolivia

Museum of Ethnography and Folklore, La Paz, Bolivia

A:  The masks depict important figures from Bolivian folklore traditions and are used in Carnival celebrations in the town of Oruro.  Carnival occurs every year in late February or early March.  I had hoped to visit again this year, but political instability in Bolivia made a trip too risky.

Carnival in Oruro revolves around three great dances.  The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532.  “The Morenada” music and dance style from the Bolivian Andes was possibly inspired by the suffering of African slaves brought to work in the silver mines of Potosi.  The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins.  Lucifer was disguised in seven different masks derived from medieval Christian symbols aor totemic animals that became nd mostly devoid of pre-Columbian elements (except that became attached to Christianity after the Conquest).  Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.

Comments are welcome!  

Pearls from artists* # 65

Museum of Modern Art, NYC

Museum of Modern Art, NYC

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

To create demands a certain undergoing:  surrender to a subconscious process that can yield surprising results.  And yet, despite the intuitive nature of the artistic process, it is of utmost importance to be aware of the reason you create.  Be conscious about what you are attempting or tempting.  Know why you are doing it.  Understand what you expect in return.

The intentions that motivate an act are contained within the action itself.  You will never escape this.  Even though the “why” of any work can be disguised or hidden, it is always present in its essential DNA.  The creation ultimately always betrays the intentions of the artist.  James Joyce called this invisible motivation behind a work of art “the secret cause.”  This cause secretly informs the process and then becomes integral to the outcome.  This secret cause determines the distance that you will journey in the process and finally, the quality of what is wrought in the heat of the making.    

Anne Bogart in and then, you act:  making art in an unpredictable world 

 

 

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