Feria Talk

What does the future hold for Mexican folk art? Only time will tell. But does it not seem likely that potters will abandon gathering their own clay from the earth, having to pulverize and process it by hand, when commercial clays are available? That artists who use the traditional stiff brushes chewed from the midrib of a yucca leaf will begin to use commercially made brushes to paint designs? That rather than take the many hours needed to gather and process wool, spin it, dye it, and then weave it on handmade looms, weavers may go to automated equipment and store-bought yarns? If Maestros del Arte can help to broaden the awareness of Mexico’s indigenous art in even a small way, then its goal will have been achieved – bringing together artists of time-honored mediums under one roof to share their art and heighten the awareness of the people who come to view it. Webster’s dictionary defines art as “making or doing of things that have form and beauty: art includes painting, sculpture,  products of creative work . . .” Handicraft is defined as “an occupation or art calling for skillful use of the hands . . .” Some would argue that handicrafts are not art. For the purpose of describing the work of Maestros del Arte artisans, “art” is the only word that aptly describes their endeavors. The memoirs of one famous art collector compare the collecting of art to big-game hunting -— picking up the scent of a prey, tracking it down, bagging the prize and then happily exhibiting the trophy in one’s home. However, for most of us, purchasing a piece of art is an aesthetic pleasure. There was no yearning for possession, only the desire to have the chance to admire a work of artistic creation in our daily lives. There is no specialized knowledge required to be an art collector or to simply purchase a piece of art, nor must you spend exorbitant amounts of money for it to have value. The value is realized moment by moment as one looks at the newly procured treasure. What does the work say to you? Do you care? Perhaps you seek inspiration, healing, a sensory, emotional, intellectual stimulus that enhances your life now and stays with you afterward. A piece of art like that is one you'll never tire of. There is a tendency in modern times to depreciate the value of the beautiful and overstress the value of the useful. Because the value of art can be sensed through emotions and requires no intellectual analysis, appreciation of art is ultimately in the eye of the beholder and its value is whatever you will pay for it. The job of the artist is to awaken that eye, to offer you something you cannot make yourself, something that moves and stirs your imagination and love for beauty. Handicrafts are rightly described as the craft of the people. While many of these art forms serve a positive need in the daily life of the people, they also act as a vehicle of self-expression. The story of art and handicrafts goes back into the mists of antiquity, when the story of man was beginning to advance into an age when the capacity of the hands to create was respected, even revered. Handicrafts thrived through the ages helped by a vigorous folk tradition and a time when individualism was cherished, and detail and precision were valued.                    The artisan was an important factor in the equation of their society and culture. He earned for himself a certain status and a responsible position in society. He made things mainly for the use of the people around him and not so much for sale in a distant marketplace. He was an heir to the people's traditions and he wove them into his craft making it into an art.

Trying to create or organize a large event can be very difficult if you don't know what you're doing. Just ask me! Very lucky to have had many different types of jobs during my pre-Mexico lifetime, I got my feet wet in “the organizing events” portion of my resume while managing one of the largest Arabian horse ranches in California. The ranch had never had an open house until I put together an incredible event that attracted hundreds of buyers, and we sold (to the owner’s amazement) over 20 horses that weekend ranging in price from $5,000 to $265,000 USD. Until I left the ranch, we had a yearly open house. Then I moved to Mexico. Twenty-two years ago when I decided to try my hand at organizing a Mexican folk art show, my past experience came to the rescue over and over. Yes, I was in a different country, but I told myself I was up to the task. If I knew then what I know now, there might never have been a first Feria Maestros del Arte! First, I had to find a venue. This can often be the most difficult part of the organizing process because you have to have sufficient parking for the hoards of people you “know” will want to attend the event. Next, publicity needed be generated so the hoards knew where and when to attend this unique new Lakeside affair. I must say a great deal of publicizing that first Feria involved groveling. I invited 6 artists who all said they would come — Mexicans are known for not wanting to offend and most always say “yes” — I started worrying none of them would show up, but they all did. A dear Mexican friend and I were chatting about the show and she asked me, “Where are the artists going to sleep?” “Hotels,” I said. “I sent them a list of hotels with the other information I mailed to them about the show.” A strange look came over her face before telling me that these artists could not afford hotels and would want to sleep under their tables. “I can’t have that,” I said. “I don’t want my guests to sleep on the floor.” She suggested I put the word out to friends and see if any of them might be interested in hosting an artist. “Great idea,” said I as I pulled out my phone book. There are some pretty wonderful people here at Lakeside – all the artists had hosts. Pfffew! I thought my last big problem was solved. But then, my friend asked me, “What are you planning to feed them?” Since the Feria was being held at Hotel Real de Chapala, I thought they would eat in the restaurant. That look came over her face again and she told me, “These people will not spend their money on expensive restaurant food. You need to provide them with something for breakfast and lunch and it should be food they are used to eating.” It was about here that I thought about calling the whole thing off. The hotel was not prepared to offer me a discount on food, and since I was footing the bill for everything, I could not afford to feed everyone off the regular menu. What do I do? Well naturally, the only thing I could do was smuggle food in from another restaurant that would give me a deal on the food. Surely, I was over the last hurdle, and then I realized I was going to need some help during the show - the phone list came out again. What would we all do without our friends? (And by the way, those same friends are still involved in the Feria today.) In the beginning years, I hosted a dinner and dancing for all the artisans and volunteers. We laughed and got to know each other through Mexican music and dance. Well, I won’t say hoards attended, but I was very pleased with the results of Feria Maestros del Arte #1. Meeting and spending time with these wonderful artists changed my life. Yes, there would be another Feria because I was “hooked” on helping these incredible people continue having at least one place in Mexico to sell their art at no cost to them. There was never a complaint; I was never asked for more than I offered, but I was always greeted with huge, warm smiles, and I’ve never been hugged so much in my life. I don’t put the show on by myself anymore; it’s gotten too big. The volunteers that make this event happen are the most wonderful group of people I’ve ever worked with. Personal agendas don’t enter into what we do, there is no fighting or bickering, we all have our jobs to do and we do them to the best of our abilities. The most important lesson I learned about organizing a large event is to treat your volunteers well. Everyone involved must enjoy themselves and have a good time. Great memories and a thank you go along way in keeping a group together. Thank you to all the volunteers who make Feria Maestros del Arte happen every year!

What does Mexican Folk Art Mean to Me? 2009 “We’ve frozen your bank account!” Those were the first words spoken to me today as I sat at my computer trying to write my monthly column for the Lake Chapala Review magazine. As my morning unfolded, it got worse and worse. So, what does this have to do with folk art? Well, as I continued to bemoan my financial state of affairs, I was revolving in my swivel computer chair looking around my house. Without even realizing it, my thoughts turned from “what am I going to do?” to the happy memory of when I purchased my barro negro mona (black ceramic figure) from Magdalena Pedro in Oaxaca. Wouldn’t you like to own a piece of art that is so beautiful it can take your mind off of money? We all take something for granted now and then — our comfortable homes, the fact we live in a wonderful country full of laughter and color, or our friends, partners or spouses who are always there for us. I had taken for granted all the intricate, beautiful art objects surrounding me every day. On a day when I really needed something to be happy about, I was reminded with just a glance, that each object I have purchased or been gifted over many years has a wonderful story behind it; that I have met and spent time with each artist whose hands have molded, woven or formed the beautiful artwork that now resides in my home. I have been living with them for so long that they have become a part of my daily life and part of those things I, too often, take for granted. So, instead of spending more time worrying about a problem that will solve itself in time, I’ve decided to write about what folk art means to me. Anyone who has traveled to México has been exposed to the abundant handcrafts created here. It's nearly impossible to resist bringing home one or two items; it's like bringing a bit of México back with you. But I don’t think I would be inaccurate in assuming that most of México’s visitors do not know very much about folk art. Most tourists do not realize that pottery they purchased may have been made in the same family for generations. Neither do they know it can take a month to weave a rebozo. And, it’s almost certain they are unaware that the woman who wove the huipile they believe is priced “too high” may give up weaving the indigenous garment to weave placemats because she cannot get a “fair” price for her work. I have trekked up and down hills (with my bad knees) and driven on roads not even used by cows in search of a piece of art I read about or saw in a photo somewhere. Sometimes I don’t even know the name of the artist I am looking for. Like when I first found Martin Ibarra. I asked at a store where I was admiring a piece of his work, “Who made this? Do you know where he lives?” “Well, he lives in a town San Juan something or other. That’s all I know.” I got out my map and the only San Juan I could find was San Juan Evangelista on Lake Cajititlan. I grabbed a friend and off we went in search of the man who had made the incredible orb I had admired. It took us all day to find San Juan because the road was terrible, there were no signs and we got lost several times. As we finally drove into town, I stopped and said to a man on the street, “Excuse me, I am looking for the man who makes beautiful round orbs. Do you know where he lives?” “Continue down this street and turn left at the fourth tope (speedbump). He lives across from the church,” the man told me and then continued walking down the street. I did as I was instructed. As I neared the church, I saw incredible virgin statues sitting on the rock wall along with the orbs I was seeking. I walked across the street to an old adobe home with a rickety door. I knocked. A soft-spoken man with a smile from ear to ear greeted me and said he was Martin Ibarra and yes, he was the creator of the ceramics drying in the sun on the church wall. I guess some people might have felt uneasy entering this humble man’s home with its dirt floors and small dark rooms but I did not feel at all out of place. Perhaps because Martin, like so many other Mexicans, put you at ease from the moment you meet them with their broad smiles and easy ways. There are many such tales to tell of my journeys to find artists who exemplify the best in Mexican art. There was the time when the initial impact of seeing a weaver laboring on an extraordinarily beautiful rebozo brought tears to my eyes. For me, it was impossible not to feel moved by the object’s beauty, the blend of colors, its texture, and shape. The movement of the weaver’s fingers sliding up and down the threads was a work of art in its own right. The love for her work was obvious as she proudly carried on a family tradition that had gone on for generations before her. She took my hands, looked into my eyes and told me that there is no higher compliment for an artist than to see in someone’s eyes that they have succeeded in passing on to them the emotion they have tried to weave into their art. Did you love the work you used to do for a living this much? I know I didn’t. In those outstretched hands, I recognized a language of generosity that went beyond words. The aesthetic experience alone had brought me to tears but now I was experiencing the realization that this was more than just make a living, it was what gave meaning to her life. Marianne Carlson  For more information email: info@feriamaestros.com or WhatsApp 331 098 4850