Blog Archives

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: 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’s on the easel today?

Work in progress

Work in progress

A:  I am working on a large 38″ x 58″ pastel painting  that depicts figures found years ago in Oaxaca and Mexico City.  This painting doesn’t have a title yet.

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I continue working on a large pastel painting that combines some of my finds from Oaxaca and Mexico City, Kandy (Sri Lanka), and Panajachel (Guatemala).

Comments are welcome!

Q: Would you speak about your first trip to Mexico?

 

With an amate tree at Chalcatzingo

With an amate tree at Chalcatzingo

A:  In the early 90’s my late 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 that first trip to Mexico we visited the National Museum of Anthropology, where I was introduced to the fascinating story of ancient Mesoamerican 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, most recently this past March to study Olmec art and culture.

Comments are welcome!

Q: What’s on the easel today?

Work in progress, 58" x 38"

Work in progress, 58″ x 38″

A:  Today is a day off to let my fingers heal.  When I start a new painting, I need to rub my fingers against raw sandpaper in order to blend the pastel.  With each layer the tooth of the paper gets filled up and becomes smooth, but until then my fingers suffer.  Here is what I’ve been working on.

This pastel-on-sandpaper painting is an experiment, an attempt to push myself to work with bigger and bolder imagery.  The photograph clipped to the easel is one of my favorites.  It depicts a Judas that Bryan and I found in a dusty shop in Oaxaca.  Among the Mexican and Guatemalan folk art pieces that I’ve collected are five papier mâché Judases.  This particular one is unusual because it has a cat’s head attached at the forehead (the purple shape in the painting).  They are not made to last.  In some Mexican towns large Judases are hung from church steeples, loaded with fireworks, and burned in effigy.  This takes place at 10:00 a.m. on the Saturday morning before Easter.  Mexico is primarily a Catholic nation, of course, so effigy burning is done as symbolic revenge against Judas for his betrayal of Christ.  The Judas in the photo is small and meant for private burning by a family (rather than in public at a church) so by bringing it back to New York I rescued it from a fire-y death!  In sympathy with Mexican tradition, I began this painting last Saturday (the day before Easter) at 10 a.m.

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!

Q: Mexico has been a big influence on your work. What first drew you to Mexican folk art – masks, carved wooden animals, papier mâché figures, and toys?

A corner of Barbara's studio

A corner of Barbara’s studio

A: In 1991 my future sister-in-law sent, as a Christmas present, two brightly painted wooden figures from Oaxaca. One was a large, blue and white polka dot flying horse, the other a bear, painted with red, white, and black dots and lines.

At the time I was living in Alexandria, Virginia, studying at the Art league School there, and working as a full-time artist. I had resigned from the Navy after seven years on active duty, although I still worked one weekend a month at the Pentagon as a reservist. I was looking for something new to paint with soft pastel, having found portraits deeply unsatisfying.

I had never seen anything like these Oaxacan figures and was intrigued. I started asking friends about Oaxaca and soon learned that the city has a unique style of painting, the self-titled Oaxacan school, and that the painter, Rufino Tamayo, and husband and wife photographers, Manuel and Lola Alvarez Bravo, were from Oaxaca. (Manuel Alvarez Bravo founded an important photography museum there). 

I had been a fan of Frida Kahlo, Diego Rivera, Leonora Carrington, Remedios Varo and other artists associated with Mexico, and had a long-standing interest in pre-Columbian civilizations. I knew some Spanish, having studied it in high school. I began reading everything I could find about Oaxaca and Mexico and soon became fascinated with the Day of the Dead.

In 1992 my future husband, Bryan, and I made our first trip to Mexico, spending a week in Oaxaca to see Day of the Dead observances and to study the Mixtec and Zapotec ruins (Monte Alban, Yagul, Mitla, etc.), and another week in Mexico City to visit Diego Rivera’s murals at the Ministry of Education, Frida Kahlo’s Casa Azul, and nearby ancient archeological sites (the Templo Mayor, Teotihuacan, etc.).

I began collecting Mexican folk art on that first trip. I still have fond memories of buying my first mask, a big wooden dragon with a Conquistador’s face on its back. Bryan and I found it high on a wall in a dusty Oaxacan shop. The dragon was three and a half feet long and three feet wide. Because it was fragile, we hand-carried it onto the plane and were able to store it in the first class cabin (this was pre-9/11). I chuckle to remember that we covered its finely carved toes with rolled up socks to prevent them from breaking!

I have been back to Mexico many times, mainly visiting the central and southern states. I travel there to study pre-Columbian history, archaeology, mythology, culture, and the arts. It is an endlessly fascinating country that has long been an inspiration for artists.

Q: Are you close to finishing any pastel paintings?

"Absencee" not quite finished

“Absence” not quite finished

A: I’m putting finishing touches on a small one, “Absence,” which is 26″ x 20″ unframed. It depicts paper mache figures that I bought some years ago in Oaxaca and Mexico City. I added those two blue and white “volcano” shapes on the left after my recent trip to Bali. Check out the dust (and torn pastel wrappers) on the easel. That’s what inspired the name of my blog.