Thursday, July 29, 2010

This Week's Special!!!




Very intricate original hand woven tapestry. Pre-Hispanic image possibly representing the reincarnation of a royal child representing a diety. Note that the image is speaking. Rich ribbon colors in colorfast acrylics, cotton and metalics on national warm warp. Penecilla and border in purple and white. This is a large 3 by 3 foot piece that was originally 4,500 pesos -- this week's special, 2,500 pesos.




Aztec Art Studios on the lateral of the main highway at Calle Rio Bravo, 1 mile west of Ajijic. We're open 10:30 a.m. to 5:30 p.m., Tuesday through Friday.

Friday, July 23, 2010

ART TALK by Janice Kimball

"What is the price of that painting?", she asked me as her husband and I held it up on their living room wall. I was blindsided, just stood there balanced on a chair, it seemed like forever, as they looked up inquiringly. I had never before been asked "the price" for one of my paintings, although I certainly put "prices" on my work. The words have always been "How much," like; "How much is that doggie in the window, the one with the waggly tail?" Not like, "What is the price of that doggie," as if he was stuffed.

As she smiled anxiously and he good naturedly tottered with his half of the heavy painting, this is what went on in my mind. It is a very good painting, yet one from an earlier series. I was budgeting to have professionally over framed, so I can save money by not having to do that. I built our studio with no closets, and now the good-sized storage room is Francisco's bedroom so not having to store this painting would help the crunch. This painting is oversized and does not stack well with the others; it is also just a little too heavy for me to lift and I hate asking for help. This is a couple on a budget decorating their new nest; they are very sociable and enthusiastic, and if they buy the painting, my work will be out there, getting exposure. This was the painting she loved when she first saw it in the gallery and the colors work perfectly in their home. I want to give them the lowest price possible on this painting.

So, what is the lowest price? If you are to be respected as a serious artist you can't go below a certain price line when selling your work. This was the price I was trying to establish in my head as I stood there. How would I feel about another established artist selling a mature painting of this size for below this price. Will selling at this price devaluate quality art that already has incredibly low south of the border prices? I looked at the piece I was holding through the eyes of another artist. At what price could I sell it and still maintain their respect as an artist?

The price of a piece of art is completely separate from its value. You cannot put a price on something intangible unless it ha been made into a product. For example, what price would you put on listening to a bird's song, or on that painting that captured a feeling, a concept, that spoke to you, that was created, not one of many on an art studio assembly line, but only this one time?

There is no way I could ever be truly adequately paid for my art, for each piece is a creation of a lifetime. I do not even expect to receive any sort of fair hourly compensation.

I have earned my living consulting and teaching art, but selling what I create has never supported me. Never in a life without the connections to become a star; it has to be that way, or I would just be painting commercially - making saleable products.

Ask Janice for bargain prices on hand-woven pre-Hispanic tapestries through August at Aztec Studios on the lateral of the main highway at Calle Rio Bravo, 1 mile west of Ajijic. We're open 10:30 a.m. to 5:30 p.m. Tuesday through Friday.

Monday, July 19, 2010

ART TALK by Janice Kimball

I hate the connection at the Dallas airport so much that I only visit my family in Detroit every few years. I thought I would have a stroke the last time I hefted heavy suitcases off the conveyor belt and raced to customs in order to make my connecting flight. I swore I would never, ever check baggage again. My lust for American-bought art materials, however, has pre-empted that solution.
I have since developed a system that works for me. I bought a huge wheeled-duffle bag and put my empty regular suitcase inside of it for the trip to Detroit. Since they are both empty, I can pull them alng with the cords of the duffle bag as I make my was through customs. I cram the personal clothing and toiletries that are essential for my trip into my carryon bag.

On the flight home to Guadalajara, my luggage will be checked straight through. My carryon will contain 20 pounds of art books (yes, the wheels of my carryon are getting wobbly). The duffle bag will be full of novelty yarns not available in Mexico. They'll be used to create even more exciting tapestries woven on the Spanish colonial looms at Aztec Studios. The suitcae I'll fill with new painting mediums and colors available in the United States, along with exciting pastel sticks sandwiched between the clothes I originally had in my carryon.

Starting a year before my trip, I get so excited making lists of the art materials I'll purchase that it sometimes eclipses thoughts of reunion with my family. What does that say about me as an artist? Nothing, but it sure says a lot about my compulsion. Remember the old axiom, "Do as I say, not as I do"? Well, that certainly applies here.

The reality is that as we grow as artists, our work also grows. If the work is not growing, it is because the artist is not growing. Yes, we will create work that is ever more exciting when I return from the states, but it is not the materials I bring back that causes that. It would naturally happen anyway, artists build on what we learned from our previous work. This is what separates art from craft.

With craft the execution gets finer with time, although the ideas remain the same. With the purchase of yet more and varied materials, we are addressing the issue of execution, not ideas. The ideas separate the sheep from the goats in fine art; they are far more elastic and are infinite in the act of creation.

It is useless to wait to accumulate the right materials in order to create. Creation is done with the mind. It does not even need a product, however the product is validation. As a metaphor, visualize standing in front of a sunset painting and experience that mood; standing in front of a real sunset gives validation. It is something that can be shared.

Communication and validation is what innately inspires an artist to create a product. The assumed need to acquire the latest materials is therefore, I believe, largely cultural. If you come from a culture whose wheels are driven by its humans' need for acquisition, try to set that aside. Create today by what is available here, what can be bought at the local stationary or hardware stores, or hopefully well-stocked art supply store.

Believe me when I tell you, anything more is for your own aesthetic enjoyment. It will not make you a better artist.

Thursday, July 8, 2010

Fantastic Price Reduction to our Friends

Our friend, Gatito Elliot recommends that you get a running start on the sale of the Pre-Hispanic tapestries that were on display at Lake Chapala Society this spring.

Francisco, Max Bird and I would love to show them to you and share the great prices.



Thursday, July 1, 2010

Gentle Tidings





He sat at the entrance smoking, sorting out his mind in peaceful ways as new spring freshness fills the air. My son is on vacation from a Detroit group home for Veterans who had faltered. His most profound memory from visiting his mom is how each Mexican greeted him as they passed by on the lateral in front of our gallery.

Back home he is not observed smoking on the group home's back porch by those whose property values consume them.

God bless Mexico and God bless my friends who live in this highland sierras of eternal spring where my son can come and experience the warmth of being equal in a land of gentle tidings.

Thursday, June 24, 2010

Aztec Studio Update




Hi All,

The rains have brought the cool, calm, and relaxing air to all of us. We have rushed around here at the gallery and are finishing up our remodeling and uplift, and are making plans for our next big attack on making this is an exciting place where you can see and bring your friends to watch Francisco and Max and myself doing better and better stuff for your home.

Thursday, June 17, 2010

Gold Coiners of the Sierra Madre

By Janice Kimball, M.F.A.



I immediately recognized the beaded detail on the waist of this dancer. I'd seen him in a recent ceremonial dance.

Have you ever tried to play the game, "Cooties," with missing parts or been on a wild goose chase?

The men of western Mexico's Sierra Madre do something similar when they go hunting for lost treasure, just beyond the mountains that rise above the picturesque village of Ajijic on the north shore of a high volcanic lake.

"Gold coin fever" is a men's tradition and those secrets are not disclosed to the uninitiated, and particularly not to the women. I learned about this tradition in a roundabout way.

A while back, unfamiliar men began to slip in and out of our art studios during working hours; my partner, Teo, continued to weave. They conferred with him, confidentially, as he threw the shuttle, then just as quickly they were gone.

One Saturday a dashing indigenous dancer in full costume slipped into our space, a feather tucked behind one ear. I was lounging in a low chair knotting the fringe on a finished tapestry. When I looked up I saw his beaded waist piece and recognized it from a "Save the Lake" ritual I had experienced.

He cleared his throat. "Teo needs your permission to join our dance troupe." he said with a slight shuffle. I looked up, and was caught speechless as he told me how blue my eyes are, I was blinded by his fetching smile. Teo, whose vocabulary does not include the word "no," had sent the dancer to me, confident that I would agree if this charmer asked. Meanwhile Teo continued weaving, his hopes, and confidence ill placed.

I remembered that this dancer had also been one of the young hopeful males standing at the perimeter of Teo's group of old men at a granddaughter's quinceñera (15th birthday fiesta), hoping to be included. I'd wondered then, why this young man so desired to be part of these old men. I realized now that I was his opportunity to get close to them, yet instinctively knew it could also be an opportunity for me.

The dancer took advantage of my long pause at the surprise of his request to advance Teo's cause and asked another question. "Can you dance?" he asked. "Of course," I replied, not remembering my arthritis.


Lake Chapala dominates this area. (Left:) The dogs of Teo's cousin enjoy frolicking at the edge of the water. (Right:) No matter where we look, there are lovely views. Here we're looking toward Ajijic on the north shore.


My blush-tinged pale face stared at him, as he told me how glorious I would look in a revealing Pre-Hispanic costume. I gazed at him through eyes that have faded little despite my more than 65 years and enjoyed another moment of fantasy before I told him that Teo and I would both love to be part of his group.

Teo unwittingly went along with this pretext until he discovered the dancing was after his bedtime, but not before he promised to provide the entire dance troupe with feathers for their headdresses in momentary flush of enthusiasm.

The following morning we drove to San Cristóbal, a fishing village on the far shore of Lake Chapala to visit Julio and another cousin, Hector, who had just returned from the states after spending the last 30 years of his life working in the fields of California. The reverie between them was such that you would think no one had ever left.


(Left:) Julio's wife prepares a lakeside fire so she can cook fish for us. (Right:) We had a good time with Julio, his wife, and Hector who had just returned from the states.


The three happily visited under Julio's fishing shack of reeds and discarded Venetian blinds hanging askew while Julio's wife prepared to roast fish over an open fire. I took my customary walk. I looked forward to these times, walking the lakeshore alone, turning in where the goats are penned, walking the lane toward the old church, observing the village, unnoticed.

When I was just about to give a tortilla to the goat appealing to me at the fence, Teo came after me, wanting to head home. I barely had time to say goodbye to Teo's cousins as he dragged me out. We left so quickly that Julio's fishbone eating perros still playing on the fringe of the water, didn't have time to do their customary shake off. This time we weren't drenched with water for the ride home. I turned the truck back around on the beach, at Teo's insistence, and we left.


(Left:) The goat in San Cristobal was anxious to share my treats. (Right:) There's nothing like having time to walk along the edge of Lake Chapala.


In a surprise move, Teo anxiously directed me to drive up and down the rutted one-lane dirt streets of San Cristobal, speaking rapidly in an indecipherable Spanish that he knew I could not understand. He jumped out periodically, and engaged in long, animated conversations with everybody he saw, while I spent half the day waiting, wondering what was going on in my camioneta (small truck) with the air conditioning running.

His only explanation to me was more gibber jabber. More than a little irritated, I informed him that the next time he wanted to come to his old barrio (neighborhood) he could take a bus, which, indeed the very next Sunday he did, on the pretext of finding feathers. He dressed up in a white shirt and his new sombrero. He actually looked quite fine standing at the bus stop. I knew something was up.

I removed my stained tee shirt, donned a red silk dress and headed for my Unitarian Church activities, prepared to be among the enlightened people of my culture.


(Left:) My partner, master weaver, Teo, agreed to become a member of a dance troupe as part of the intrigue that arose from the men's secret plans to search for gold in the mountains. (Right:) Meanwhile I donned a dress and headed off to share time with other foreigners in Ajijic.


He returned that evening full of himself, wide eyed, with one hand on his hip, the other clutching a handful of broken peacock feathers. As I curiously questioned him, he blurted out that he had been at a very important meeting. He told me with great animation that this meeting was going to change the course of our very lives.

"Hmm, and who else was at this meeting?" I asked. "My cousin Hector, and, his grandfather." Teo was shouting and leaping in the air with excitement. My instincts peaked and I carefully considered the best line of questioning.

"And where was this meeting?" I asked. "In the Panteón de San Cristóbal (San Cristobal cemetery). Hector's grandfather told us where a big cache of gold coins are buried."

Teo pointed and I followed his gesture, looking up into the Sierras that ascended a short distance away. "Near the bandits' camp, where they buried it before they escaped just after the Mexican Revolution," he said resolutely. He went on at length before he was able to contain himself. Teo spilled a lot of beans before he clammed up, remembering I was a woman and that he was sworn to secrecy.

It appeared that the cemeteries here in Mexico are even more interesting than I had realized. I've always known they are fascinating places; the Ajijic Panteon is almost my neighbor. Mexican cemeteries are living places, drenched in sweetness and secrets, with twinges of theatre and amplified macabre.

Now I was learning, and confirmed with further observance soon after, that the panteones are also meeting places for the men. In November I had innocently participated in the admiration and fawning the women make over the incredibly beautiful decorations on family gravesites on the Day of the Dead. The beauty of those adornments is a source of pride, and a display of love for those departed, yet somehow not dead. After all, as I've learned, only those who are not remembered are truly dead.


(Left:) Mexico's cemeteries are a riot of color on the Day of the Dead. (Right:) Local musicians perform for the living and the dead during Day of the Dead festivities.


Now I realized as I'd never noticed before, that only the women and children stand around the gravesites during these celebrations. The men stand in clusters against cemetery walls, speaking of dreams of success, and hopes of riches.

"Were you talking about finding the gold coins?" I asked Teo as we walked home. "Can I go to search for them, too?' I asked, knowing full well the word "No" is not in his vocabulary.

I discovered that truckloads of men, young and old take off for the mountains before daybreak on Sundays after the foliage has dried up and the snakes go underground, and a wild boar or coyote can be seen at a small distance. They go before the Easter celebrations, a time when wives and girlfriends put up the least resistance, as for a few weeks the men will no longer be seen on precious Sundays when their families gather. During that time if you see a truckload of men speeding along in the wee hours on a Sunday, you will know where they are headed.

They stop near Jocotepec and rent an ancient, well-used metal detector. They joke about it, as it seems they either detect everything or nothing. The group is in luck if there is a rabid gold coin hunter among them, one who is not secretly jaded. The new guy might have gone to Guadalajara on Saturday afternoon to rent a good metal detector; he'll have to return it by the time the store opens on Monday so the group only has to pay one day's rent.

The men stop by a roadside store each buying tortillas, or maybe a lonche (Mexican-style submarine sandwich) and some bananas, then pool the rest of the money in their pockets to buy as many cans of beer as possible. Those they'll drink at sunset, after their climb down from the mountain, exhausted, and with their clothing shredded into tatters by the rocks.

I know about these traditions because at my insistence, I had been invited along. I had visions of seeing the giant trees I had heard about, and maybe a wild boar or fox. At the last minute we made a wise decision, and Teo and I followed the main group in my pickup. It was a long, rough and exhausting drive over forbidding terrain following the other men into the high Sierras. The shocks had long since been destroyed in the truck I was following. I watch with concern the younger men in the back of the truck being ruthlessly tossed around like so many sacks of potatoes.

I tried to take my mind off their torture as we listened to "Rocky Mountain High "on the stereo. Teo dozed in his cozy seat beside me. When we arrived at the end of the road, the bunch in the lead truck all jumped out, unloaded the metal detector, too heavy for two men to carry, various bars, picks and shovels, and, of course backpacks to carry out the gold coins.

The terrain was rough and they headed straight up the face of the mountain. "How long before we reach the hideout," I said after walking a few hundred yards. The men just smiled.

It was about at that point that I realized I barely had enough energy left to drive back home, and needed to leave — soon. As I drove, I ate my banana and a bag of bean tacos.

Back at home, wiping the salsa off my face, I went straight back to bed and fell asleep thinking of alternate plans to join in the adventure. I dreamt of talking orchids, lips wavering in the breeze, and of foxes winking as they very curiously observed us, in all of our strangeness.

We are the blessed, embraced by the incredible verdant forest that rises up, just beyond us, those of us lucky enough to live on the shores of Lake of Chapala.