Constructing Altars: An Interview with Mexican artist, César Viveros. (translation from Spanish)

This is an interview realized digitally about the altar course that César Viveros teaches at Fleisher Memorial and a little bit about his artistic inspiration.

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Celeste: I found out about you and your work through Fleisher Art Memorial. I saw an announcement about a course on altars for Day of the Dead. How did this course come to be? What will the students do in the course? Would you describe the materials that they will use?

 

César: The Day of the Dead altar course has started. It is a four-day intensive in which the students are introduced to the Day of the Dead tradition, which has become popular in the United States. This is the third year that Fleisher is working with the community around this holiday and this year I was invited as the artist who would direct the installation of the traditional Day of the Dead altar. So during four days we wanted to teach the workshop in which students could make their own mini-altars in the tradition of the larger ones for Day of the Dead. The students have designed the mini-altar based on their ideas and with simple drawings they begin to render the design. Normally they focus their design on a familiar member or friend who has left this world. Usually they construct a based made out of wood or cardboard that supports the composition, and then make the rest of the elements, which overall are made from wire, paper mache and paints.

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Celeste: When did you begin to make art?

César: I always tell the story of my early years during the rainy season in Veracruz, Mexico. We would make deep holes in the dirt in order to burn or bury the garbage (organic and inorganic), because there was no municipal service that would handle it. So there was always a moist clay, very characteristic of subsoil in Veracruz. (One needs to note that in this area many vestiges of an advanced civilization have been found, developing this type of art. These civilizations were very old, centuries before the Spanish arrived in the Americas). It is precisely here that at the age of five, I began to experiment with constructing these clay artifacts as a way to entertain myself in my free time. I wasn’t able to move around much at that age obviously, so I traveled in my imagination. This helped me to create alternative worlds while I was kneading clay—making multiple forms that allowed me to have fun while I discovered things that were not academic—because of the isolation of our community, in relation to other cities that perhaps might have offered some kind of artistic education.

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In high school, some teachers noticed that a friend of mine, my brother (Nicolás and José Nava), and I liked to draw and paint a lot. So they gave us the opportunity to do large paintings, portable murals that could be used as backdrops for festivals. Remember in Mexico that any occasion is a good one to have a party. Thus we were able to count on resources to develop these projects that I consider not so common in our limited area. With this background it might seem strange that I didn’t decide to study art or any related discipline, like architecture or graphic design. But as soon as I finished high school and a technical course at a national institution of public education, I decided to risk it and work in Petrolera de Campeche, looking for business opportunities, which in a way took me away from any inclination towards the visual arts.

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However, in a couple of years working in the petroleum platforms in the Golf of Mexico zone, I had the opportunity to begin to paint murals on the barges of a company called Corporación de Construcciones de Campeche, in an informal way. My official work was to develop underwater activities as an industrial diver. It was at that juncture that I decided to seriously return to my true vocation. While working there, I began to take commissions for portraits and pictures commissioned by North American staff what were working in the Campeche area. As a result, each time that I was able to, I would make multiple murals in high schools in Veracruz, which helped me to define my style and my individual technique.

For more information about César Viveros, visit his Facebook page:

http://www.facebook.com/cesar.viveros.904

For more information about FLEISHER ART MEMORIAL and their events see:

http://fleisher.org/community-programs

 

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New Latino Art at PAFA!

At first glance this looks like a friendly happy painting. It is large and depicts a picnic in the park. A family sits at a table conversing, waiting for the food to be ready. Closer to the viewer, in the bottom right corner, we see workers cutting up produce. Behind them three men slaughter an animal. The title of the painting is “Slaughter.”

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The violence in Mexico is a topic that comes up regularly in discussions with Mexican nationals. This is a concern for those who live in the U.S.A. with family in Mexico as well as those actually living in Mexico, and visitors to Mexico. I spoke to the artist who created “Slaughter”, Juan Pablo Ruiz, at PAFA (Pennsylvania Academy of the Fine Arts) on May 13, 2016. He said that violence was a major theme in his artwork. This painting combines three locales that are important to Ruiz, Mexico, Chicago and Philadelphia. We can see the Chicago skyline in the distance, Fairmount Park in Philadelphia and the Mexican landscape on the right of the painting. Ruiz was born in Mexico, grew up in Chicago and attended PAFA in Philadelphia. “Slaughter” won a Fellowship Juried Prize.

On the 2nd floor of the exhibition, Mr. Ruiz has three paintings that he said were meant to be shown together. They are called “ Prometeo, Falla and First Eighth.” The theme of violence is present again, he said. It begins in the Classical age and is traced to present day Guadalajara. Mr. Ruiz’ painting technique is astounding, in my opinion. Some of the work in the exhibition is more contemporary and abstract, but Ruiz excels in and owns his realism. His paintings are thought provoking as well as aesthetically beautiful. For more information about him and his artwork, please see his website: http://www.jpabloruiz.com/

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The 115th Annual Student Exhibition is currently open at PAFA (Pennsylvania Academy of Fine Arts) in Philadelphia. PAFA was founded in 1805 by artist/scientist Charles Wilson Peale, who painted portraits of the founding fathers. The 115th Student exhibition is from May 13-June 5, 2016. The entire modern museum building (Samuel M.V. Hamilton Building) is full of student artwork, including prize winners from the concluding academic year, and graduating undergraduates and masters students.

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Another young artist who I spoke to on Friday evening, was Diego Rodriguez Carrion. He is still in school at PAFA, but had won prizes for three artworks in the exhibition. I was attracted to his woodcuts/wood engravings, because this is a rare art form practiced in the United States. Woodcuts have a long tradition in Latin America, especially in Brazil, but also Spanish speaking cultures. Mr. Rodriguez-Carrion is from Puerto Rico and his woodcuts depict scenes, people and places that he recalls from his upbringing and native island.  He also draws and paints. Check out his website to see: http://www.diegohiromi.com/

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Overall, there is something for everyone at PAFA’s Student exhibition, and many of the works are for sale! It is particularly encouraging and exciting to see the pieces by emerging artists Diego Rodriguez Carrion and Juan Pablo Ruiz. “Slaughter” follows in the footsteps of Mexican muralists Diego Rivera, Orozco and Siquieros, depicting Mexican realities. Meanwhile, Rodriguez Carrion’s woodcuts remind us of a beloved medium that is familiar and popular, grounded in folk art and culture, but at the same time worthy of fine art distinction.

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VISIT PAFA’s website: www.pafa.org