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August 2016
Review Contreras Gallery Milagros Reviewed by C.J. Shane |
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Those of us who migrated to Tucson and now call the Old Pueblo our home, and that would be many thousands of us, proudly proclaim the merits of our local culture to the outside world. We tout the pleasures of Sonoran cuisine, and point admiringly to our colorful murals, our desert landscaping, our mariachi music, our All Souls Procession, our Tucson Meet Yourself. The list goes on and on.
We sometimes forget that Tucson remains, after all this time, a city firmly rooted in Native and Mexican culture. Tucson was a native settlement when Spanish soldiers showed up and established the Presidio San Agustín del Tucsón in 1775. The Jesuit mission San Xavier del Bac had been established even earlier. In 1821 when Mexico rebelled against the Spanish, Tucson became a part of the Mexican state of Sonora. It wasn’t until the Gadsden Purchase in 1854 that our city became a part of the United States. Not everything changed suddenly though. Everyone still ate tacos and went to mass at St. Augustine on Sundays, and spoke Spanish most of the time. Yes, there was and is that invisible line between two nations that divides families and has caused no end of political troubles to this very day. But in the end, Tucson remains in so many ways a Mexican town.
We can thank the artists at Contreras Gallery and its current exhibit, Milagros, for reminding us of just how deep go our roots into Mexican folk culture. The entire exhibit is made up of retablos which are devotional folk art paintings typically found in Catholic churches though out the Southwest U.S. Retablos are small paintings, usually on metal, that are housed in a unique, and easily-recognizable wooden frame. These are votive paintings, frequently labeled “ex voto,” which indicate a vow taken to indicate thanks for a miracle granted or a plea answered. [click on images to enlarge]
We sometimes forget that Tucson remains, after all this time, a city firmly rooted in Native and Mexican culture. Tucson was a native settlement when Spanish soldiers showed up and established the Presidio San Agustín del Tucsón in 1775. The Jesuit mission San Xavier del Bac had been established even earlier. In 1821 when Mexico rebelled against the Spanish, Tucson became a part of the Mexican state of Sonora. It wasn’t until the Gadsden Purchase in 1854 that our city became a part of the United States. Not everything changed suddenly though. Everyone still ate tacos and went to mass at St. Augustine on Sundays, and spoke Spanish most of the time. Yes, there was and is that invisible line between two nations that divides families and has caused no end of political troubles to this very day. But in the end, Tucson remains in so many ways a Mexican town.
We can thank the artists at Contreras Gallery and its current exhibit, Milagros, for reminding us of just how deep go our roots into Mexican folk culture. The entire exhibit is made up of retablos which are devotional folk art paintings typically found in Catholic churches though out the Southwest U.S. Retablos are small paintings, usually on metal, that are housed in a unique, and easily-recognizable wooden frame. These are votive paintings, frequently labeled “ex voto,” which indicate a vow taken to indicate thanks for a miracle granted or a plea answered. [click on images to enlarge]
Eugenio Contreras
Consequently, the exhibit is a celebration of a special art form that originated in Europe, but expanded dramatically and developed artistically in the context of Mexican culture. We are looking at Tucson’s roots in this art exhibit at Contreras Gallery.
The word “milagros” means “miracles” in English. In addition to the cultural statement made by this exhibit, the works also explores the notion of miracles and what they might mean to us on a very personal level. Consequently, there are works such as Neda Contreras’s ex-voto Blessed St. Nicholas and La Llorona which is a prayer to protect children from La Llorona, the key figure in a unique American ghost story which originated in New Mexico during the Spanish colonial period. Families also include our pets. Neda Contreras includes images of St. Francis in her Ex-Voto for Rescue Dogs, and Blessing of the Animals. This is also true of Eugenio Contreras’s, Por la Gracia de Dios which celebrates the survival of the family cat from a serious illness. And there’s Lucia Bigelow’s Ex Voto for Our Pet Turtle.
The word “milagros” means “miracles” in English. In addition to the cultural statement made by this exhibit, the works also explores the notion of miracles and what they might mean to us on a very personal level. Consequently, there are works such as Neda Contreras’s ex-voto Blessed St. Nicholas and La Llorona which is a prayer to protect children from La Llorona, the key figure in a unique American ghost story which originated in New Mexico during the Spanish colonial period. Families also include our pets. Neda Contreras includes images of St. Francis in her Ex-Voto for Rescue Dogs, and Blessing of the Animals. This is also true of Eugenio Contreras’s, Por la Gracia de Dios which celebrates the survival of the family cat from a serious illness. And there’s Lucia Bigelow’s Ex Voto for Our Pet Turtle.
Others, such as Jeff Litvak’s ex-voto, celebrate the miracle of surviving a car crash on a trip to Flagstaff. Here the Catholic imagery is not so strong although the gratitude is very heartfelt. Is that a Buddha we see watching over Litvak? Never mind. Surviving the crash was most definitely a miracle.
Some of the artworks address one of the pressing issues of the borderlands – the destiny of those who attempt to cross that invisible line between two nations. Neda Contreras’s Ex-Voto for Immigrant Children” reminds us of these migrants, as does Nancy Drigotas’s Ex Voto for Border Crossers.
E. Michael Contreras has several beautiful pieces in this exhibit, but one of the most eye-catching is Xipe-Totec, his silver, copper, and turquoise reminder that Mexico has its own rootedness in earlier native cultures – the Aztec, Maya, and even back to the Olmec.
Some of the artworks address one of the pressing issues of the borderlands – the destiny of those who attempt to cross that invisible line between two nations. Neda Contreras’s Ex-Voto for Immigrant Children” reminds us of these migrants, as does Nancy Drigotas’s Ex Voto for Border Crossers.
E. Michael Contreras has several beautiful pieces in this exhibit, but one of the most eye-catching is Xipe-Totec, his silver, copper, and turquoise reminder that Mexico has its own rootedness in earlier native cultures – the Aztec, Maya, and even back to the Olmec.
Jeff Litvak
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Neda Contreras
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E. Michael Contreras
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Marcy Miranda Janes
Perhaps the most compelling piece in the exhibit is Marie Miranda Janes’ Santa Sonora. At first glance, this seems to be an homage to the iconic Virgin of Guadalupe. When we look closer, we realize we are seeing not a human form but a huge butterfly or moth with a coyote face and lizard and deer feet surrounded by more desert creatures, including several bird species, all enjoying the desert moonlight. What we are seeing is a spiritual recognition of what came first before human culture – the Sonoran Desert and its first (and last) inhabitants. “Gracias, Santa Sonora, por llenar mí nido con tus hijos.”
Many of the ex-voto messages are written in Spanish, some in English, some in Spanglish and there is no attempt, thankfully, to translate. It’s up to us to know enough of both languages to understand the message being conveyed. We are a bi-lingual culture in the borderlands.
Lest one think that this art exhibit is all serious and deeply religious, think again. Humor is a big part of Milagros exhibit. David Scott Moyer prays for protection against the “jugadores de Pokemon Go,” a sentiment many of us share and will find amusing. David Contreras sends a Spanglish prayer to Santo Procastination that will leave you smiling and nodding in agreement. Hector Perez honors Niña Blue Demon in his piece, and prays that she be protected from homework and little sisters. And there’s Ruben Moreno’s El Cuento – we’d love to hear the story behind this one!
Martin Quintanilla’s humor can be biting when he asks for protection from “bad artists who use apps and projectors.” Ouch! And there’s his Saint Jimi Hendrix with an ex voto that is suspiciously like the lyrics in the Hendrix song, “Purple Haze.”
Some of the works, such as Nina Duckett’s appear to be a clear statement of religious faith. Others are simply beautiful portraits of religious figures such as Pauline Pedregon’s St. Lucy and St. Philomeno or Neda Contreras’s large-scale works, San Rafael and Santa Lucia.
Contreras Gallery has brought us another terrific exhibit, and this time, it’s one uniquely enjoyable by those who call Tucson home.
This exhibit will be available for viewing through August. To learn more, go to http://contrerashousefineart.com/