Educational artists of Purmamarca expose in the Lavalle Museum


He is in the last room of the old large house in that they killed Juan Lavalle, today museum. There, a group of educational of Free Factories of Arts and Crafts of Purmamarca exhibit their works, for the first time, in collective form. Bond to say: not them works of its students nor of their factories, but those that they themselves, artists and craftsmen as well, generate. The fact, then, has its importance.



One treats, first of all, to show that, after education, there is a love by the matter that is transmitted and that, for this reason, teaching is not only one labor exit but the possibility of transmitting the art that is exerted. Secondly, it is possible to be seen as the same crafts are touched, also, by the distinguishing quality of the art.


It is not that the art is superior to the crafts. During generations, numerous craftsmen of our earth are exercise full offices of dignity, contributing to their communities those elements that, been born from the same roots of our culture, were not supplied by another means. Then, when the industrial metal pots and weaves lowered the price of the necessary materials for the daily use, the work of weavers and potters was decreased.


For many craftsmen, and for many of which they want to rescue the crafts of his ancestors, the art was the form to give back a social sense to its works. But, clearly, he is not only that, because besides resignificar the social function of an office, is an own esthetic necessity of the human being who looks for the purely beautiful thing in the surface of the culture in which he was bred.


Thus, the brief sample of the educational-artists of Free Factories of Purmamarca, that by brief it is doubly good, is, this is precisely why, a possibility of finding us with the beauty. The carpets of Ricardo Alancay load, at the same time as the framework of our looms, a personal synthesis of forms and emergent colors of the landscape and of millenarian symbols, whereas the ceramics of Hope Cross appears recreating own imagery and vasijeria, rescuing and enriching simultaneously.


Carlos scholastic, from its work with picote, and Maurín Norm, from the weave to two needles, hangs in dummies works of which its primary article sense could be become lost in thought to dress to see itself, in themselves, like pictures, without for that reason stopping being articles. Severe Huarita Colque has hung in the room its works of fur shop, where the image is let play in the surface of the hairs, clarifying the design with its own tones against the lights, and their art, modest and delicate, it would seem to consist only of desocultar it of the dice.


Ariel La Rioja took his pictures, where it annoys a spiritual question that takes, like our same town, of it has nourished what it throughout the centuries: a search of the sense of the universe in the same world in which it lives, and a search of the sense of the life in the religious stories, both in one, without dividing lines. Amelia Cordova, on the other hand, disturbs beautiful where coquetea his oniria with the iconic expression that another Amelia Cordova, thousands of years back, him left implanted in a cave.


That I myself, who writes this note, it has put one of my police novels in one of the display cabinets next to works of my companions, than another thing is due more to the pride to belong, somehow, to this heterogenous group of creators who, by means of the Free Factories, we turned upside down on the populations to contribute, and so we know, that to the office of the craftsmen follows alive in its search of the shaping thing and the beautiful thing.


The sample will be able to be visited see you tomorrow.

Gentility Tribuno de Jujuy

 
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