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Pearls from artists* # 482

One of Viscarra’s masks at MUSEF La Paz

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

Devils’ heads with daring and disturbing eyes, twisted horns, abundant grey hair and hooked noses hang on the blue walls of Antonio Viscarra’s house. Long benches covered with old, multi-colored cushions in Bolivian motifs surround the concrete floor of the small room. Several dozen of these hanging faces, which seem to watch in silence from the darkness, are ready to be used in festivals and traditional dances.

The maskmaker or “maestro” as he is called, lives [deceased now] in the area of Avenida Buenos Aires, far from the political and administrative center of the city of La Paz, but rather at the very center of the other La Paz (Chuquiago in the Aymara language) where many peasant immigrants have settled, and which for that reason, is the center of the city’s popular culture.

Viscarra is the oldest creator of masks in La Paz, and his work has helped to conserve, and at the same time to rejuvenate, the tradition of using masks in Bolivian dances. If economic progress and alienation have contributed to the excessive adornment of new masks with glass and other foreign materials, Viscarra, in an attempt to recover the distinctive, original forms, has gone back to the 100-year-old molds used by his grandfather. His work has been exhibited in Europe, in the United States and in South America, Most important, however, is that Viscarra is transmitting his knowledge to his children, ensuring that this form of authentic Bolivian culture will never die.

…Viscarra inherited the old mask molds from his grandfather and was told to take good care of them because some day he might need them. After keeping them carefully put away for 50 years, the maestro used them again for an exhibition of masks prepared in 1984, slowly recreating the original masks, beautiful in their simplicity, in their delicate craftsmanship and in their cultural value. In this way, the masks which emerged from the old molds are regaining their past prestige and importance.

Antonio Viscarra, The mask Maker by Wendy McFarren in Masks of the Bolivian Andes, Editorial Quipus and Banco Mercantil

Comments are welcome!

Q: Travel is an essential aspect of your work. How do you decide where to travel next?

In the Bolivian Andes at about 14,000’

In the Bolivian Andes at about 14,000’

 A:  Generally, I am most interested in exploring Mexico and destinations in Central and South American because they offer endless inspiration to further my work.  I’m not exactly certain why this is the case.  I DO know that I cannot get enough of travel to points south!

My 2017 trip to Bolivia proved to be crucial for my current pastel painting series.  “Bolivianos” is based on an exhibition of Carnival masks encountered at the National Museum of Ethnology and Folklore in La Paz.

I had high hopes of making a return visit – along with a private tour guide – last February.  However, since President Moreno resigned last November, much political instability, violence, and turmoil resulted.  I would not have felt safe traveling to Oruro to see Carnival celebrations this year.

In the mean time I look forward to traveling to Chile, the Atacama Desert, and Easter Island next winter!

Comnents are welcome!

Q: What non-art book are you reading now?

Tiwanaku

Tiwanaku

A:  I am reading Kim Mac Quarrie’s, “The Last Days of the Incas.”  It’s fascinating to discover the intricacies of the epic conquest of the short-lived Inca empire.  The book is actually thrilling to read.  Mac Quarrie makes this story come alive.

Last summer I traveled to Peru to investigate the history of the Incas and the civilizations that preceded them.  In May of this year I continued my studies with a trip to Bolivia.  Both trips are proving to be highly inspirational for my art practice. 

Comments are welcome!       

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