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September 2018
Interview Michael Contreras |
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Michael Contreras is an artist primarily known as a silversmith. He also paints and creates pen and ink drawings. Michael, along with his wife Neda Contreras, are owners and curators of the Contreras Gallery and Jewelry on 6th Street. Contreras Gallery presents revolving invitational art exhibits throughout the year featuring local artists. |
MContreras_silver, Cripple Creek turquoise_
AN: Michael, you are a Tucson native born and bred. Many artists in the Old Pueblo have relocated from some other place and decided to stay here. Have you ever lived anywhere else? What made you decide to make Tucson your permanent home?
Michael Contreras: Tucson is where I have always lived.
SAN: There’s some really interesting background about you and your family and the arts scene in Tucson when you were a child. Your dad was a silversmith and you and your brothers began apprenticing with him when you were really young. You began in 1958 so you were in elementary school at the time. Did you have a passion for silversmithing from a young age? Or did you start because your dad wanted you to learn and then later you decided it was the right path for you? What about your brothers? Are they silversmiths, too?
MC: As soon as I began my apprenticeship, I really was very interested in learning to be a silversmith. My older brother had already began his apprenticeship the previous year, which also spurred my interest. We were attending All Saints parochial school at the time, and it was close to my Dad’s shop. So we would walk directly to the shop every day after school, until about 6 pm. My parents had six sons, and as the years passed, we all learned to make jewelry and all the aspects associated with the craft: lapidary, casting, forming sheet and wire with a rolling mill and draw plates. My father had gone through the same learning processes when he finished high school and apprenticed with Frank Patania Sr. at the Thunderbird Shop, next to the old Fox theater.
Michael Contreras: Tucson is where I have always lived.
SAN: There’s some really interesting background about you and your family and the arts scene in Tucson when you were a child. Your dad was a silversmith and you and your brothers began apprenticing with him when you were really young. You began in 1958 so you were in elementary school at the time. Did you have a passion for silversmithing from a young age? Or did you start because your dad wanted you to learn and then later you decided it was the right path for you? What about your brothers? Are they silversmiths, too?
MC: As soon as I began my apprenticeship, I really was very interested in learning to be a silversmith. My older brother had already began his apprenticeship the previous year, which also spurred my interest. We were attending All Saints parochial school at the time, and it was close to my Dad’s shop. So we would walk directly to the shop every day after school, until about 6 pm. My parents had six sons, and as the years passed, we all learned to make jewelry and all the aspects associated with the craft: lapidary, casting, forming sheet and wire with a rolling mill and draw plates. My father had gone through the same learning processes when he finished high school and apprenticed with Frank Patania Sr. at the Thunderbird Shop, next to the old Fox theater.
Michael Contreras (back left) with father Alberto and brothers
AN: In the 1950s and early 1960s, your dad’s studio was on a street you call Ash Alley. Is that the same as North Ash Avenue between Stone and Church in downtown Tucson? What do you remember about the other artists and musicians who had studios in Ash Alley at that time?
MC: Yes the street was called Ash Alley back then. I think the name might have been changed, years later, after it was no longer an arts district and lawyers began to move into the area. The building complex where my dad had his first shop was at Council Street and Ash Alley. The actual arts district was from Council Street, north to Franklin Avenue. The name of my dad’s first location was called “The Pink Adobe”. There were several artists’ studios and a Mexican restaurant there. Down the alley was Jack Petty’s studio. The original building is still standing there. The rest have all been torn down. In the early sixties during the so called Urban Renewal Project, “The Pink Adobe” was demolished, and the space was used as a parking lot. It’s still a parking lot. Down the alley, were the back entry ways to Jack Schaffer’s photography studio. He was the main photographer for the Arizona Daily Star newspaper. There was a framing studio, and also the original Kaibab Shop, where they had Hopi craftsmen make Kaibab boots. Ralph Simons also had his business at Ash Alley and Franklin. He made all the old off set photo engraving on zinc plates for the local newspapers.
MC: Yes the street was called Ash Alley back then. I think the name might have been changed, years later, after it was no longer an arts district and lawyers began to move into the area. The building complex where my dad had his first shop was at Council Street and Ash Alley. The actual arts district was from Council Street, north to Franklin Avenue. The name of my dad’s first location was called “The Pink Adobe”. There were several artists’ studios and a Mexican restaurant there. Down the alley was Jack Petty’s studio. The original building is still standing there. The rest have all been torn down. In the early sixties during the so called Urban Renewal Project, “The Pink Adobe” was demolished, and the space was used as a parking lot. It’s still a parking lot. Down the alley, were the back entry ways to Jack Schaffer’s photography studio. He was the main photographer for the Arizona Daily Star newspaper. There was a framing studio, and also the original Kaibab Shop, where they had Hopi craftsmen make Kaibab boots. Ralph Simons also had his business at Ash Alley and Franklin. He made all the old off set photo engraving on zinc plates for the local newspapers.
SAN: You have some very beautiful handcrafted silver jewelry on display in your gallery and website. I notice that you use different kinds of stones in your jewelry. Is turquoise your favorite and if so, why?
MC: Yes turquoise is my favorite. I really appreciate natural high grade turquoise, from mines across the southwest and also from other countries. Turquoise qualities can be very distinct and also similar. It’s just a beautiful stone. It’s getting difficult to acquire good natural turquoise. A lot of turquoise is treated or stabilized now.
SAN: You work with different types of turquoise from near and far, even as far away as China. Do you find significant differences in the different turquoise stones? You also use carnelian, Arizona jade, topaz and other stones. Do you have a favorite of these and if so, why?
MC: I use all these stone, mainly for variety to satisfy people’s tastes. I will acquire almost any type of stone for a special order if required. I am very lucky to have some of the natural high quality turquoise that my father had purchased from the miners back in the 1950’s through 1990’s.
SAN: Some of your work is sandcast? How does that process differ from your regular silversmithing work?
MC: Sand cast jewelry is very distinct from other processes. It’s heavier with more dimension and texture.
MC: Yes turquoise is my favorite. I really appreciate natural high grade turquoise, from mines across the southwest and also from other countries. Turquoise qualities can be very distinct and also similar. It’s just a beautiful stone. It’s getting difficult to acquire good natural turquoise. A lot of turquoise is treated or stabilized now.
SAN: You work with different types of turquoise from near and far, even as far away as China. Do you find significant differences in the different turquoise stones? You also use carnelian, Arizona jade, topaz and other stones. Do you have a favorite of these and if so, why?
MC: I use all these stone, mainly for variety to satisfy people’s tastes. I will acquire almost any type of stone for a special order if required. I am very lucky to have some of the natural high quality turquoise that my father had purchased from the miners back in the 1950’s through 1990’s.
SAN: Some of your work is sandcast? How does that process differ from your regular silversmithing work?
MC: Sand cast jewelry is very distinct from other processes. It’s heavier with more dimension and texture.
MContreras_milagro_
SAN: Tell us about your milagros. Here we’re not referring to the annual Milagros painting exhibit but the silver artifacts that you handcraft. For those not familiar, what is a milagro? Are these all sandcast? Do you have some milagros that have special meaning to you?
MC: Traditionally in the Southwest and Mexico, Milagros are handmade metal charms used for healing purposes. When I used to go to the Santa Cruz Parochial School on South 6th and 22nd street, I would see the curious Milagros attached to the garments on the statues of the saints. I also saw then at the San Xavier Mission. This is the time that I found out what they meant. Milagros vary, like the different parts of the human body. For example, an eye milagro was offered for the curing of an eye disorder. I have made several specific Milagros, one was for an injury to my wife, Neda’s hand.
MC: Traditionally in the Southwest and Mexico, Milagros are handmade metal charms used for healing purposes. When I used to go to the Santa Cruz Parochial School on South 6th and 22nd street, I would see the curious Milagros attached to the garments on the statues of the saints. I also saw then at the San Xavier Mission. This is the time that I found out what they meant. Milagros vary, like the different parts of the human body. For example, an eye milagro was offered for the curing of an eye disorder. I have made several specific Milagros, one was for an injury to my wife, Neda’s hand.
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SAN: You also create fine art prints, paintings and pen and ink drawings. Does your interest in this type of artwork date back to childhood like the silversmithing? Or did you start doing these works later in life?
MC: I started fine art prints, drawings, paintings and sculptures, later in life. During my youth, learning at my dad’s shop, I met many different artists, musicians and movie actors. The visual artists were my inspiration, including Ted Degracia who would come over to our shop, a lot. He would make wax molds of his own designs, and we would cast them up in gold for him. SAN: Many of these works have subjects based on, or referring to Mexican-American culture. Do you see yourself as a kind of cultural ambassador and educator about the contribution of Mexican Americans to overall American culture? MC: Maybe, I guess. Mexican art is very inspirational to me, so I am more like a receiver and transmitter. I see it, I like it and I want to imitate it. The cultural aspect of Mexican art goes much deeper than my own personal experiences. |
MContreras_Mictlan, The Altar of Xolotl_pen & ink
MContreras_Pima Flood Myth_ acrylic
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MContreras_sintra print_
SAN: You have a couple of prints in a recent Fine Print exhibit that were created on Sintra board? What is that and how do you create a print on it?
MC: I was introduced to Sintra board, by David Andres, from Pima Community College. Sintra board is the commercial name for the PVC material that comes in sheet form. It’s inexpensive in 4 foot by 8 foot sheets. It is very similar to working with lino-cut prints. You carve out the material just like you do with linoleum.
SAN: You and your wife artist Neda Contreras also show other artists’ works on an invitational basis for several times a year. What made you decide to open a more general gallery rather than just show your own work and Neda’s work?
MC: We were members at Raices Taller Art Gallery and Workshop and the old Dinnerware Contemporary Art Gallery on Congress. This gave us the exposure and basic knowledge for running a community type gallery. This type of gallery also brings in much more visitors and artists, giving the public more incentive to come in. Neda and I show our art too.
SAN: You’ve been involved in the Tucson arts scene for a long time. What do you think would make life easier for artists in Tucson?
MC: Be diversified and try to think what relates to different types of people and cultures.
Treat people with respect. This has worked for us.
MC: I was introduced to Sintra board, by David Andres, from Pima Community College. Sintra board is the commercial name for the PVC material that comes in sheet form. It’s inexpensive in 4 foot by 8 foot sheets. It is very similar to working with lino-cut prints. You carve out the material just like you do with linoleum.
SAN: You and your wife artist Neda Contreras also show other artists’ works on an invitational basis for several times a year. What made you decide to open a more general gallery rather than just show your own work and Neda’s work?
MC: We were members at Raices Taller Art Gallery and Workshop and the old Dinnerware Contemporary Art Gallery on Congress. This gave us the exposure and basic knowledge for running a community type gallery. This type of gallery also brings in much more visitors and artists, giving the public more incentive to come in. Neda and I show our art too.
SAN: You’ve been involved in the Tucson arts scene for a long time. What do you think would make life easier for artists in Tucson?
MC: Be diversified and try to think what relates to different types of people and cultures.
Treat people with respect. This has worked for us.
See more of Michael’s work and learn about the Contreras Gallery here: Contreras Gallery and Jewelry
