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Tango at Tiradito

10/26/2019

 
​An homenaje to all things wondrous and wild this time of year in our corner of the world --loosely inspired by a local folktale of the disobedient young lady seduced by the devil at a community dance. Smitten, she becomes transparent beneath his gaze. His appearance crosses centuries - skull face and long warrior hair under a classic fedora hat and flashy 40's suit.

The scene is the iconic historical shrine, El Tiradito (The Castaway) - often regarded as the heartbeat of Tucson, decorated for El Dia de los Muertos. 

Ancient deities rule... shining through the moon. But La Virgen de Guadalupe lives on... here on a ball cap that could have been left by a thankful border-crosser. (When one becomes aware of La Virgen, one notices she is everywhere.) 

​As an afterthought I added a curious little dog, just following the trail of marigold petals...
Tango at Tiradito
Tango couple close-up
Tango with the devil
tiradito corner shot
Aztec deities in the moon, La Virgen on a ball cap.

La Visitación

10/13/2019

 

A fresh look at La Llorona - the Weeping Woman

The Legend of La Llorona is one of the oldest in the Americas, and there are too many versions to go into here, but learn more about her HERE.
Nobel prize-winner, Octavio Paz. In his 1950 essay, The Labyrinth of Solitude, Paz describes La Llorona as ‘one of the Mexican representations of Maternity’ and, as such, she is presented as a symbol of Mexican identity. This identity, according to Paz, revolves around Mexicans’ view of themselves as hijos de la Chingada. Paz explains that: ‘The verb [chingar] denotes violence, an emergence from oneself to penetrate another by force … The Chingada is the Mother forcibly opened, violated or deceived. The hijo de la Chingada is the offspring of violation, abduction or deceit.’ This violation is the Conquest, the quintessential symbol of which is La Malinche, or Doña Marina, who despite having been sold into slavery and given to the conquistadors – and therefore having limited agency of her own – has been painted as a traitor to ‘her people’. This anachronistic and highly misogynistic view that lays the blame for the defeat of a civilization at the feet of one (disenfranchised) woman has remained popular to this day. Indeed, Paz himself states that ‘the Mexican people have not forgiven La Malinche for her betrayal’.
My interpretation brings a little redemption to one of the  many maligned female archetypes in global mythologies. The endless repression of females, both  political and religious, is debilitating by design.    I also needed to create something to soothe my spirit after completing the En Memoriam series. Now I can look to El Día de Los Muertos with the joy in which it is intended.

I place La Llorona along the Santa Cruz River, somewhere south of Tubac. No saguaros here - she is framed by mesquite trees instead. I figure by now she's lost most of her hair. And she must be terribly, terribly weary. I put tiny eyes on the butterflies and colorful spots on their bodies to make them special. (Slightly Disney-esk possibly, oh well.) I always incorporate owls into my paintings where the veil between the worlds are thin. It is a guardian keeping watch over the ephemeral scene. Owls are sacred birds in many cultures and I adore them.

I include also a boulder with a petroglyph on it, alluding to the timelessness of the land.

the visitation
the visitation 2
llorona-mariposa
owl
monarchs + mesquite

La Aplicación (The Application)

10/2/2019

 
​This may be the last in my series honoring asylum seekers for a while. It is an intimate capture of the bond between parent and child. The process of painting the mother revealed the ancient classic Maya bone structure of her face. What timeless beauty.  I wonder if they are still alive and together. This administration will go down in history for its crimes against humanity.

I must say here that this brutal saga of America's asylum seekers really struck a nerve. When stories started coming out about what "Zero-Tolerance" was doing to families, children, and babies, I absolutely  could not stand it.

I was still recovering from surgery but was determined to DO SOMETHING... ANYTHING. When the plumbing collapsed at the old Benedictine Monastery (Tucson's primary migrant shelter), a dozen porta-johns were brought in and volunteers built outdoor showers from pallets, tarps, and PVC pipes. Plumber's daughter that I am, I joined one other lovely lady to clean all daily, and continued to do so until the Casa Alitas Program relocated to their swanky new location farther south.
​
When that job went away I still felt compelled to do something to lift up the humanity of these remarkable "throw-away" people who had suffered so much and come so far. That need gave birth to this series of artworks.
Guatemalan mother applies for asylum
Guatemalan child detail
Mother applies for asylum
Original source of photo unknown. I'll keep searching. It is beautiful.

    Linda

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La Corua-Baboquivari-Mts
*  La Corua  was a large water serpent that lived in springs of water and protected them. It had a cross on its forehead and cleaned the veins of water with its teeth.  According to Sonoran folk beliefs, if one killed the Corua, the spring would dry up.  Vanishing water sources and  economic pressures in Mexico have pushed the folktale of La Corua  to the dustbin of history on both sides of the border.

Serpents have long been sacred to indigenous peoples throughout the Americas and are respected as guardians of water sources and bringers of rain.

* Beliefs and Holy Places - A Spiritual Geography of the Pimeria Alta  -  James S. Griffith, University of Arizona Press, 1992
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