Archives for posts with tag: oaxaca
Edith Chavez, center front, and Alan Altamarino, center back with KU students at Taller Chicharra.

Edith Chavez, center front, Alan Altamarino, at back & KU students at Taller Chicharra.

While ice storms hit the U.S. a group of Kutztown students spent 17 days of winter break in sunny Oaxaca, Mexico. We worked with a group of talented young printmakers in Taller La Chicharra (translates as the Cicada Studio).

Alan Altamarino  on press pulling a large scale print with Kevin McCloskey

Alan Altamarino on press pulling a large scale print with Kevin McCloskey.

Alan Altamarino, who also goes by MK Kabrito, runs the studio. He is a recent graduate of the School of Fine Arts at UABJO, Oaxaca. He specializes in large format relief prints. In the image above he carved MDF, multi-density fiberboard, to print a mega-print for his upcoming exhibition in Guadalajara.

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Nueva Vida, 2-color woodblock print by KU student Elaine Knox.

Printmaking studio classes were scheduled from 11-4, but at times the KU crew was still working happily as late as 10pm. Of course, they took a long dinner break around 3pm. Some brave souls sampled fried grasshoppers, a typical Oaxacan snack.

Pajaro Rojo, print, by KU Prof. Miles DeCoster

Pajaro Rojo, print, by KU Prof. Miles DeCoster

Each student created an edition of 15 black and white prints for a portfolio to exchange with their classmates. They also created a limited edition with a second color printed from a block of carved plywood.

Figura Prehispanica, detail, by Ashley Ridgway.

Figura Prehispanica, detail, by Ashley Ridgway.

We came as a group with a reservation, but Taller La Chicharra offers short classes for visitors throughout the year. Besides woodblock, they offer classes in serigraphy and engraving metal via electrolysis. Typically, courses are for half-days and last a week. The cost ranges from 500-1000 Mexican pesos, $40 to $80 U.S.

KU student Blake Myers sketching in the mountains of Mexico.

KU student Blake Myers sketching in the mountains of Mexico.

“Impressions From Oaxaca” prints from the KU workshop will be on exhibit at the Student Gallery, Sharadin Building, Feb 10-15.

KU students carving blocks at Chicharra.

KU students carving blocks at Chicharra. Photo: Miles DeCoster

We had time for trips to the Prehispanic ruins at Monte Alban and Mitla. A highlight was a journey to the petrified waterfall known as Heirve el Aqua.

Wolfgang and Brigid inking plates. Photo M.DeCoster

Wolfgang and Brigid inking plates. Photo: M.DeCoster

Muchas Gracias to Alan Altamarino, Edith Chavez, Marcus Lucero, Mariana Rivera, and all the wonderful Oaxacan artists who made our time in Mexico so memorable! Nos Vemos! See you again!

Blake Myer's sketch of Oaxaca Valley as seen from Monte Alban

Blake Myer’s sketch of Oaxaca Valley as seen from Monte Alban

The observatory at Monte Alban by Malia Balas

The observatory at Monte Alban by Malia Balas

Welcome reception at Hostal Don Nino.

Welcome reception at Hostal Don Nino.

The Hostel Don Nino gave us a welcoming reception of flautas, which are like fried enchiladas, guacamole, Oaxacan cheese and aqua de Jamaica. It is not easy to post from my ipad here, but I will share student drawings and post more when we return from our 17-day Oaxaca tour.

Mariana Rivera giving us a tour of the Opera House.

Mariana Rivera giving us a tour of the Opera House.

Rebekah, Ashley, and Jen sketching at San Pablo

Rebekah, Ashley, and Jen sketching at San Pablo

13 KU students and Prof. Miles Decoster are with me sketching in Oaxaca. In less than 36 hours we have seen the San Pablo Center, site of the first Spanish Settlement in the early 1500’s. Then we visited the ancient Zapotec site at Monte Alban, founded circa 500 B.C, it may have been the very first city in North America. It had 30,000 people at its height. We also visited the Macedonia Alcala Theater, a wonderful old opera house, where we were allowed on stage and on the roof. We met the ASARO printmaking collective, and the students are doing wonderful sketches.

We will be having an exhibition of our prints at the Student Gallery in Sharadin Feb 10-15.

 

America, mural detail, Chapel Atotonilco, Mex.

America, mural detail, Chapel Atotonilco, Mex.

In a few days I find out if I have enough students to run a sketchbook class in Oaxaca, Mexico. Info on the class can be found here. I’ve been looking through my Mexico sketchbooks. These pages remind me of the wonderful days I have spent in Mexico over the years.

Flower vendor, Guanajuato.

Flower vendor, Guanajuato.

Sometimes my drawings are quick pen sketches. Sometimes I take time to add watercolor washes. Often they are drawn to remind myself about a particular place, like the restaurant Itanoni in Oaxaca. My notes remind me of Itanoni’s fresh organic corn tortillas. Itanoni also serves a wonderful hot chocolate drink, called champurrado, a type of atole made of maize flavored with cane sugar and cinnamon.

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tule copySometimes I draw tourist attractions, like the giant Tule tree outside of central Oaxaca. I’ve seen people jump out of a taxi, snap a photo of the Tule tree and be gone in 60 seconds. Sketching forces me to catch my breath, to savor those few minutes I spent under the shadow of this ancient life form. Some call it the world’s largest tree. The Zapotecs believe it was planted by Ehecatl, the wind god,1400 years ago. With a circumference of 137 feet, it is wider than the giant sequoia of California.

The Weaving Teacher, Oaxaca.

The Weaving Teacher, Oaxaca.

zocaloOnce when I was drawing in the zocalo, Oaxaca’s central square, an old campesino asked me if I could draw his picture. I told him I would be glad to do so. He folded his arms across his chest and stared hard at me.

campesinoA crowd gathered. Some thought I was drawing him all wrong, some thought I was doing it right. In the end, I showed it to the man and he just laughed and walked away happy. The crowd turned their attention to the marimba players and the balloon vendors. I kept drawing and I felt connected to the throng, like I was a part of the wonderful human opera of Oaxaca. I have a new sketchbook and I look forward to visiting Mexico again.

SCOM stood in a doorway in Oaxaca and told us some hairy stories of his life as a graffiti artist. He grew up in L.A. His mother came from a remote village in Oaxaca.

As a kid, he was George. Sometimes his Mom would bring him to visit family in Oaxaca. One day, his L.A. high school art teacher showed his notebooks to a California art college. “That’s so weird,” says SCOM, “cause she was always flunkin’ me, but I guess she saw potential.” He met the art school admission committee and they offered him a full scholarship. But, he had to come back for a formal interview.

Tiny monster paintings (2 inch squares) by SCOM, collection of Sean Sweeney

Tiny monster paintings (2 inch squares) by SCOM, collection of Sean Sweeney

Unfortunately, right before his big interview he got busted for painting graffiti. He called the art school from jail to reschedule the meeting. They must have had caller I.D. They gave the scholarship to someone else.

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Mural by Scom (detail) barrio Xochimilco, Oaxaca.

“So I just went down to Venice Beach and started painting. I did it for a couple years. It was probably just as well I never went to art school, ’cause I did way more painting. I developed my style, ya’ know? And people bought my stuff. My friends said, ‘Hey, how come you got money, when you don’t got no job?’ I said, hey, this is my job.”

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SCOM’s van parked by Espacio Zapata, Oaxaca, mural by Sanez.

Shots Fired in West Oakland!

Graffiti can be tough. “Once in West Oakland we got shot at. One night me and my partner were painting the back of a billboard on a warehouse. I like the backs better. They stay up longer. We had lookouts down below. So, this homeless guy sees us. He gets out of his little plastic tent, and he says he has asthma and the spray is bothering him. So we are thinking this over. But then I hear this scrape of metal on concrete and the homeless guy drags this big wrench out of his tent and swings it at my buddy, the lookout. Just misses his head. And we are like O.F !”

“I say, ‘should we go down and help him?’ and my partner says, ‘Nah, it’s too far down, just wait.’ The lookouts run off. But then the homeless guy starts bangin’ on a metal door. The door flies open. Out comes a big white guy looks like Elmer Fudd, with the stupid hat and the shotgun!”

Artist's recreation, Kevin McCloskey

Artist’s recreation, Kevin McCloskey

“Just like Elmer Fudd, but he has beard. Comes out with his shotgun and first thing he says is, ‘Where’s the problem?’  Our buds are long gone, but the homeless dude says I think I see two more on the roof.  So F! We move behind the posts. We don’t even breathe. We wait like an hour and we thought it was safe to come down. But, NO! Elmer Fudd was there waiting for us. I heard the shotgun blast and the buck shot was bouncing of the walls all around us. We just ran and didn’t look back. That was West Oakland. East Oakland is supposed to be the tough place, where are the murders are, but in East Oakland the people were nicer to us. They were clapping for us. So you never know.”

Can I Buy a Vowel?

Question: How did you get the name SCOM?  “Well, I was writing a lot, I came up with this phrase, Society Creates Monsters, then I shortened it to SCM. Painted it everywhere. SCM. SCM. Then some dudes said, ‘You know, man, SCM is the tag of a gang you don’t want to mess with,’ so I added the O. SC-O-M. Now, I am SCOM.”

SCOM, Painting on canvas, Taller Siqueiros, Oaxaca.

SCOM, Painting on canvas, Taller Siqueiros, Oaxaca.

SCOM’s paintings on canvas can be seen at Taller Siqueiros and Projecto Chicatana on Porfirio Diaz in Oaxaca. His littlest paintings sell for 150 pesos, about $12. His biggest works can be seen in tunnels and on the backs of billboards all over California and Mexico.

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Yankel and Roberto of Lapiztola at work in Oaxaca. photo: K McCloskey

Lapiz = pencil.  Pistola = pistol. Lapiztola is a stencil collective in Oaxaca. The pun suggests the pencil is as mighty as the pistol. Their artwork has been described a visual poetry. In October, one of Lapiztola’s crew,  Yankel, was on a conference panel in Oaxaca about the city’s street art collectives. Yankel had spent much of the day on a ladder wearing a respirator mask spray-painting a luminous sparrow on a wall at Matria Art Garden a few blocks away. Another artist in the audience proclaimed his love for Lapiztola, but added compared to more radical street collectives he found their stencil murals “decorative and appropriate for restaurants.” -Decorative?  OUCH!

Rosario, Yankel and Roberto of Lapiztola.

Rosario, Yankel and Roberto of Lapiztola.

Walls are where you find them. Yankel responded, sure, Lapiztola might accept invitations, but they would never let a restaurant owner dictate subject matter. They might even get reimbursed for their paint, but they don’t profit from their work.

Reflejos de Huida, stencil, 2013, Lapiztola.

Reflejos de Huida, stencil, 2013, Lapiztola.

Yankel talked about a piece that had appeared in MACO, the Museo Arte Contemporanea de Oaxaca. Reflejos de Huida featured a little boy and birds escaping from a cage. Their inspiration was a real boy they met on the streets who lived a life of extreme stress. Even more than most children he dreamed of escaping the confines of his domestic life.

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El Mundo Feliz /Happy World shows a fire-eating child at an intersection. © Lapiztola

Lapiztola’s art includes the iconic imagery of M-16’s, molotov cocktails, and skulls found in Oaxacan street art since 2006. Lapiztola, however, adds their own visual vocabulary: birds; street musicians; indigenous children. Their work often deals with street-level domestic issues like child welfare and displays a special empathy for Mexico’s children.

Mural image from Lapiztola's tumblr.

Mural image from Lapiztola’s tumblr.

Rosario and Roberto are trained in graphic design, while Yankel studied architecture. Due to their mix of backgrounds the collective’s projects are both graphically crisp and site-specific, taking full advantage of a particular wall’s potential.

A shop gate in Tiajuana © Lapiztola from their

Shop gate project in Tijuana. Mexico © Lapiztola from their blog.

One of the wonderful things about stencils is how the elements can be repurposed. Below Lapiztola reused their accordion playing boy (spraying through the reverse side of the stencil) to collaborate with French artist Seth Globepainter.

Seth (left) with Lapiztola

Seth (left) with Lapiztola

Lapiztola’s artwork looks clever online. Clever is good, but in person, their large-scale visions are more than clever. They are fantastic. They have clarity, visual impact and soul.

Commentary on Genetically Modified Corn, Lapiztola, Oaxaca.

Commentary on Genetically Modified Corn, Lapiztola, Oaxaca.

Check out Lapiztola on Facebook and via their blog. For more info, see Jeffrey Pena’s fine interview with Lapiztola at Curbs and Stoops.

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Irving Herrera creates wonderful images of beautiful woman. What is so remarkable about his artwork is that he appreciates the beauty of the indigenous and mixed-race woman of Oaxaca.

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Throughout Mexico the leggy newscasters you see on T.V. and the models on billboards, calendars, and magazines often look like pure-blooded Europeans. I took a walk looking for examples and found this mind-boggling image in the lobby of a liposuction clinic.

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And here is a more typical image from a dress shop window…

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Such images of so-called ‘female perfection’ bombard the men and women of Oaxaca daily. Dark, broadbodied Indigenous women might play the sympathetic maids, but not the love interest in telanovelas (soap operas.) Irving was born to an indigenous Mixteco family in the high mountain village of Huajuapan de Leon in 1984. He came to Oaxaca and studied with the master printmaker Shinzaburo Takeda.

20131022-182332.jpg Today, Irving Herrera is an artist on a roll. He illustrated the current issue (Oct. 2013) of the magazine, El Jolgorio. It is a special Oaxaca Poetry issue and can be downloaded here. Irving recently had a roomful of his prints exhibited at MACO, The Museo del Arte Comtemporaneo de Oaxaca. He has twice won ‘Young Creative Artist’ grants from the State of Oaxaca to complete the series of oversized portraits he calls, ‘Senora Matanzas.’ I don’t know how to translate this, maybe,’ Killer Women?’

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He told me he carves these portraits from models directly into the wood in a matter of hours. Then he crowns the portrait with the bones of a slaugthered animal, often a goat. The senoras’ seductive expressions are jarringly juxtapozed with the formal posture and dress of the Porfiato (Mexico’s version of Victorian era.) Irving says he’s mixing memories from the slaughterhouses of his boyhood town and the prints of Jose Guadalupe Posada. This past weekend Irving travelled into the mountains accompanied by his beloved teacher Maestro Takeda. The two artists were honored guests at a regional festival in Irving’s pueblo, Huajuapan de Leon, were the woman are so very beautiful.

20131022-230329.jpgIn Oaxaca, Irving Herrera and his talented companeros of Gabinete Grafico studio can be found at 307 Xincotencatl.

Yescka has a grand mural on a full wall in the Museum of Contemporary Art in Oaxaca. It’s his take on the Last Supper re-imagined Mexico style with Narco-trafficers, cops, politicians and a stripper. I knew him when he was running around pasting his work to walls without permission, risking a beating or arrest.

The Head of Benito Juarez, detail from the Last Supper, stencil and paint.

The Head of Benito Juarez, detail from the Last Supper, stencil and paint.

I met Yescka in 2007 in Oaxaca, and know his real name. He asked me what I thought of his street name of Yescka. I said to English speakers it might sound rather feminine, like Jessica. He laughed and shrugged. I asked if it came from an indigenous language, maybe Zapotec or Mixtec? He told me he made it up from ‘calles’ (streets) backwards. I said calles backwards, sellac, would sound like “Sayack.” He told me it wasn’t exactly backwards, but syllables reversed.  At the time Yescka was one of the younger members of the ASARO collective. He was often in the company of a beautiful young European woman, or two.

Marcha, 2007, detail, woodblock print, ASARO, attributed to Yescka

Marcha, 2007, detail, woodblock print, ASARO, attributed to Yescka

ASARO, the Assembly of Revolutionary Artists of Oaxaca, is a collective founded in 2006. ASARO’s art belongs to Mexico’s long tradition of revolutionary public art. Back in 2006, they sold woodblock prints for 100 pesos, roughly $10, in Oaxaca’s public square. ASARO’s real passion, however, was the work they give away.

Stencil graffiti, ASARO, 2007. Oaxaca cathedral

Stencil graffiti, ASARO, 2007. Oaxaca cathedral

Overnight they cut stencils of an arrested comrade, the next morning her portrait was sprayed all over the walls of the historic city. They would print 3ft. tall woodblock prints of goose-stepping police monsters on tissue paper. By dawn a chorus line of mutant policemen would be pasted on walls of the cathedral or Governor’s Palace. I was lucky enough to spend time with ASARO in their studio. I remember meetings where heated discussions took place. Yescka would calmly weave around the room, always painting, sketching, making collages and popping into the conversation. He made some of ASARO’s most distinctive political prints. In those days, they were unsigned.

Taller Siqueiros, Yescka's studio and gallery, Calle Porfirio Diaz, Oaxaca.

Taller Siqueiros, Yescka’s studio and gallery, Calle Porfirio Diaz, Oaxaca.

As ASARO’s fame grew Yescka began doing more personal work. He travelled to Art Basel, to Munich and Oakland leaving a trail of street art along his route. Today he has his own studio in Oaxaca, Taller Siqueiros, named in honor of the radical 20th century Mexican muralist.

Masked Grafittero, Azompa

Masked Grafitero, Azompa, 2009

AZOMPA, 2009.
One day in the town of Azompa, near Oaxaca, collectives from across Mexico came to paint murals on the walls of the municipal basketball court. Azompa was once a small village known for green clayware; today it’s an overcrowded suburb of Oaxaca City. There was a screamo punk band playing at one end of the ballcourt. The lead singer had a head like a bull and wore tire chains over his shoulders. The municipal police roared up in pick-up trucks. Ten blue uniformed police jumped from the truckbeds brandishing clubs; some had sidearms and rifles. They told the crowd of maybe 100 that event was over. The muralists, grafiteros, stopped in mid-stroke. The punk band fled the stage. Yescka who had been stenciling at the far end of the basketball courts, strode through the crowd and took the band’s microphone.

Yescka with ASARO stencil crew in Azompa

Yescka with ASARO stencil crew in Azompa

The gist of what Yescka said was, “If our music disturbed our Azompa neighbors, we apologize, but WE WILL NOT STOP PAINTING! We will NEVER stop exercising our sacred rights to free expression guaranteed under the Mexican Constitution!” He pumped his fist in the air. “Viva Mexico! Viva la Revolucion! The Revolution Continues!”

The crowd roared in agreement. Yescka went on to say that he was thankful so many important “observers” from Mexico City other countries were filming the event and nodded to me and cluster of French hipsters with telephoto cameras. Yescka’s speech saved the day. The police commander got on his walkie-talkie. Then he told his men to stand down. By nightfall, there were 20 new murals extending for over 100 yards along the cinderblock walls of Azompa’s ballcourts.

For more info on ASARO: Princeton University’s Library has a great collection of ASARO prints. I wrote about that collection here. If you’d like to know more about ASARO, I have several essays at Commonsense2.com. ASARO maintains a blog, that is occasionally updated. Yescka is on Facebook as Yescka Guerilla Art, here.

Reflejos de Huida, stencil, 2013, Lapiztola.

Reflejos de Huida, stencil, 2013, Lapiztola.

MACO,The Museo de Arte Contemporaneo de Oaxaca has an exhibition of street art on its walls. Does street art belong in a museum? Well, MACO’s Hecho en Oaxaca spills over into the streets. The artists came from all over the globe, Swoon, The Date Farmers, How and Nosm, MOMO, Retna, Saner, StenLex, and Vhils. Oaxacan artists Yescka, Dr. Lakra, and Lapiztola round out the show curated by Pedro Alonzo.

Lapiztola Collective's birds seem escape onto the street

Lapiztola Collective’s birds seem escape onto the street.

I am fond of Lapiztola’s work. I’ve met them, in fact they once let me hitch a ride home with them from a birthday party in the hills. Their stencils are always crisp graphic statements, often they relate to musical themes. I was not familiar with L.A. artist Retna. Retna’s blue wall at MACO (below) titled “Somos los ninos de las manos manchadas” translates as “We are the children of stained hands.”

Art by Retna, 2013 Acrylic.

Art by Retna, 2013 Acrylic.

His work resembles Arabic calligraphy. I thought Retna also painted the front of ASARO’s studio, Espacio Zapata, home to a gallery and the cafe,”Atila Del Sur.”  A reader informs me it is the work of Sanez.

Retna, Espacio Zapata, Studio of  ASARO collective, # 519 Porfirio Diaz. Van artist unknown.

Wall by Sanez, Espacio Zapata, Studio of ASARO, # 519 Porfirio Diaz. Van artist unknown.

Dr. Lakra has an untitled mural in the exhibition. It looks to be inspired by Hollywood, Bollywood and cheap whiskey. In Lakra’s case, I prefer his simpler ‘dragon woman’ mural on a wall near Espacio Zapata.

Dr. Lakra, untitled, acrylic and spray paint.

Dr. Lakra, untitled, acrylic and spray paint.

Dr Lakra, Street mural, Porfirio Diaz. Oaxaca.

Dr Lakra, Street mural, Porfirio Diaz, Oaxaca.

Swoon’s project is among the largest artworks in the museum. Like many old public buildings in Mexico the museum was once church property until it was seized by the government. Swoon worked around fragments of painted wall decoration which may date from the 17th century. She turned a high-ceilinged room into a temple of intense female figures. To borrow a phrase, the walls reflect both “agony and ecstasy.” Overall, her imagery evokes a suggestion of hope. I first saw Swoon’s work on a wall in Braddock, PA. She is an inspiring artist.

Swoon, detail, showing fragments of colonial wall decoration.

Swoon, detail, showing fragments of the colonial wall decoration.

Wall by Swoon at MACO, Oaxaca.

Wall by Swoon at MACO, Oaxaca.

Swoon’s outside murals were on prime real estate in the historic center of Oaxaca. I was told the building houses Dr. Lakra’s painting studio. Her works are woodblock prints on kraft paper which are pasted to the walls with wheatpaste. In some places they call these works “throw-ups.” The street artist can unroll the work and throw it up on a wall in a matter of minutes.

Oaxaca Street Art by Swoon, complete with a museum label on right edge.

Oaxaca Street Art by Swoon, complete with a museum label on right edge.

I will leave you with an image that includes art by Swoon, but it looks to be a collaboration with Retna and perhaps the blue skull is by Dr.Lakra. Next post I will share work by my old friend Yescka.

Oaxaca Street art, Swoon, Retna, and maybe, Dr. Lakra.

Oaxaca Street art, Swoon, Retna, and maybe, Dr. Lakra.

20130715-144414.jpg In 2006, when all hell broke loose in Oaxaca, and the streets were filled with tear gas, Jesus ‘Chucho’ Martinez was a founding member of ASARO, a radical printmaking collective. Today he works 6 days a week in what may be the most beautiful location for an art workshop. CASA’s Taller de Fieltro, the felt studio, is located in the power room of an old textile mill near Oaxaca. One entire wall is open to the mountain view.

20130715-150214.jpg CASA or the Center for the Arts at San Augustin was founded in 2006 by Maestro Francisco Toledo to be Latin America’s first center for ecology in the arts. The 1883 factory was lovingly restored by architect Claudina Lopez Morales. It has galleries and classroom spaces surounded by reflecting pools and breathtaking views. Even if there is no exhibition it is worth the 20 minute taxi ride from downtown Oaxaca. For those who read Spanish, more info on CASA can be found here.

20130715-151901.jpg Below is a photo of Alejandra Salgado mixing pure white and blue wool for a felt painting. The taller is working with noted artists including Guillermo Olquin, Irma Palacios, Francisco and Miguel Castro Lenero, Paloma Torres and Jan Hendrix. Also participating is the always outlandish Dr. Lakra, who I wrote about once before. Hey, I just realized Dr. Lakra rhymes with Oaxaca.

20130715-153734.jpg Chucho told me they use the finest lamb’s wool including that from Merino sheep. In keeping with CASA’s code the dyes must be nontoxic. They keep a color chart of over ninety different hues that they mix like paint pigment to match the artist’s palette.

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Below Chucho and a colleague work out the material list based on the color charts. Despite the lovely surroundings, clearly this must be a demanding job, working with such important artists.

20130715-170918.jpg Here is detail from Dr. Lakra’s project, a tattoed man. Then following is Lakra’s larger work. Following that is glimpse of Oaxaca artist Guillermo Olquin’s art. All copyright on the images belongs to the original artists. I close out this post with a sampling of the remarkable views surrounding the workshop.

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I believe these remarkable felt artworks will be exhibited in Puebla, Mexico in the near future. When I learn the details of the exhibition, I will update this post.

NOTE: I am blogging from Mexico with my Ipad. It is wonderfully portable, but has its disadavantages. I have trouble adding the accent marks that should appear on some Spanish names. I also can’t caption the photos as easily as I might from a laptop. Sorry.

"Un Gran Consejo"or "Great Advice," César Chávez, 2011

“Un Gran Consejo” or “Great Advice,” César Chávez, 2011

Our 2011 visiting artist César Chávez of Oaxaca, Mexico left a great impression on Kutztown University. He also left a number of plates.

El Chamuco drawn by Cesar Chavez.

“El Chamuco”  by César Chávez, 2011.

Ceramics Prof Jim Chaney formed a half-dozen red clay plates, then iced them with a coat of white slip, or diluted clay. He invited César to the ceramics studio to draw. Prof Chaney speaks some Spanish and once did a ceramics workshop at the University of Azuay in Ecuador. Even though César spent most of his time at Kutztown in the printmaking studio, he was happy to spend one very productive afternoon in the ceramics studio.

"Mescal" by Cesar Chavez 2011

“Mescal” César Chávez, 2011

César is a happy fellow who often draws moody, morbid sketches of the human condition. The plate above suggests mescal, Oaxaca’s agave-based alcohol is “Good for Nothing and Good for Everything.”

"Mojado" by César Chávez

“Mojado” by César Chávez, 2011

Interestingly enough, César is back in Mexico and working in another new material, glass. He has been working with artist Jason Pfohl who founded the international art glass and jewelry studio, Gorilla Glass, in Oaxaca. César’s one-man show “Peste” (Pestilence) opened at Gorilla Gallery this week. He is printing multiple impressions from etched and melted glass. I’ve never seen anything quite like it. César is also continuing his ongoing experiments in computer animation and image projection.

César Chávez, photo  courtesy of Gorilla Gallery

César Chávez, photo courtesy of Gorilla Gallery, Oaxaca, Mexico

César told Gena Mejia of the Imparcial newspaper that he is excited by the infinite possibilities of working in glass. It appears fragile, but can be a strong and very versatile material. If you can read Spanish the full story can be found here. César Chávez is an inspiring artist, a 21st century renaissance man, always searching for new materials in pursuit of his artistic vision.

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