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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!

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!

 

Q: What is the one painting that you never want to sell?

"No Cure for Insomnia," pastel on sandpaper, 58" x 38"

“No Cure for Insomnia,” pastel on sandpaper, 58″ x 38″

A:  There are two:  “Myth Meets Dream” and “No Cure for Insomnia.”  Both are part of my “Domestic Threats” series and were breakthroughs at the time I made them.  They are relatively early works – the first from 1993, the latter from 1999 – and were important in my artistic development. 

“Myth Meets Dream” is the earliest pastel painting in which I depict Mexican figures.  It includes two brightly painted, carved wooden animals from Oaxaca sent to me in 1992 by my sister-in-law.  I have spoken about them before.  These figures were the beginning of my ongoing fascination with Mexico. 

“No Cure for Insomnia” includes a rare self-portrait and is set in my late aunt’s sixth-floor walkup on West 13th Street, where I lived when I moved to New York in 1997.  My four years there were very productive.  

Comments are welcome!  

Q: What first intrigued you about Mexico?

"Myth Meets Dream," 1993, soft pastel on sandpaper, first painting that includes Oaxacan figures

“Myth Meets Dream,” 1993, soft pastel on sandpaper, first painting that includes Oaxacan figures

A:  In the early 90’s my husband, Bryan, and I made our first trip to Oaxaca and to Mexico City.  At the time I had become fascinated with the Mexican “Day of the Dead” celebrations so our trip was timed to see them firsthand.  Along with busloads of other tourists, we visited several cemeteries in small Oaxacan towns.  The indigenous people tending their ancestor’s 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.  On our first trip we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Meso-American civilizations  (it is still one of my favorite museums in the world); 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. This 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.

Comments are welcome!