Sketch for an Ofrenda

 

Sketch of a Calaca – Watercolor/pencil/ink on paper – 8×11 inches

For those paying attention, the edges of the worlds of the dead and the worlds of the living constantly overlap. Sometimes they interpenetrate. The veils between them evaporate, and the worlds flow into each other.

Those not paying attention notice an opening, perhaps, on the last days of October.

“To the people of New York, Paris, or London, ‘death’ is a word that is never pronounced because it burns the lips,” observed Octavio Paz, the Nobel Prize-winning Mexican poet. In the United States, the “festival” of “All Hallow’s Eve” seems to focus primarily on what we most fear: Death, above all. So dark thoughts predominate our imaginations, the creepy, the macabre: ghouls, zombies, spooks, malevolent ghosts, whatever puts the frighteners on people.

Paz continues: “The Mexican, however, frequents (Death), jokes about it, caresses it, sleeps with it, celebrates it; it is one of his favorite toys and most steadfast love.” This joyful spirit becomes most visible on the second day of November, the Day of the Dead. On this day, and the night before, families visit the graves of those they love and bring offerings of food, flowers, drinks, music, that is, whatever the soul who now lives in the world of shadows used to love when he or she lived with us on this side of the veils.

An ofrenda is a temporary altar constructed to honor those who are not alive – in our sense of the word — in this world. My sketch was inspired by this ofrenda I saw a few days ago in a Vidanta resort in Mexico, in Nuevo Vallarta.

Here’s the first sketch, from Nuevo Vallarta when I realized that I didn’t want an altar in the traditional sense. I noticed that the shapes of the clouds echoed the shapes of the marigolds, (or xempatzuchil), the traditional ofrenda flower. I wanted instead to create an intersection of worlds in which clouds, the sea, marigolds, birds, forces of nature, were all part of the altar. Several sketches later, I ended with this one. I don’t know whether I’ll turn it into a real painting or not.

Sketch for an Ofrenda — Pencil, ink and watercolor – 8 x 11 inches

Above all, I wanted my ofrenda to be light and good-humored, to reflect the spirit of a fiesta. We enjoy dancing with Life, don’t we? As Octavio Paz suggests, learning how to dance with her twin sister should be fun as well. After all, we’ll be dancing with that one soon enough — and for a long time. ¡Feliz Día de Los Muertos!

 

No Roads to Here

No Roads to Here – Watercolor and pencil on paper – 7 x 8 inches.

A few days ago I posted an image of a village street in Spain in the middle of the night. Frantic men were running and climbing walls to escape a bull with fiery horns. This is not an invention of my imagination. I was one of those fools. The bull spared me – barely — but meeting him has haunted me for years.

I painted the street scene objectively, I mean, as realistically as I could. You could say that I painted The Outside of the meeting, the confusion, the fear. What would an image of the Inside of the experience look like?

Here she stands: No shield, no mask, no sword, no cage, no clothes, no weapons, no defense, not even a smile. Her arms open like a peony. Fear yes, confusion no. Her arms open like the Buddha’s, embracing the World.

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The Bull With Fiery Horns

El Toro Embolado – Oil/canvas – 26 x 32 inches

“Here are three dangers to your life, Miguel: horns, hooves and fire.” Paco was telling me a story I wasn’t sure I wanted to hear.

“A year ago, I was on duty at the clinic when they brought in the first victim. He was a young guy wearing a football jersey. The flames had melted the shirt to his back. I had to listen to his screams as I cut away strips of shirt and skin with my forceps and scissors.”

“Would you like to meet a bull with fiery horns?” Paco had asked. Yes, but I thought I would meet it from the safety of a balcony.

“The guy was lucky to lose only skin. The year before, a Belgian tourist got too close. He got gored and trampled and died in the hospital. Local or foreigner, the bull doesn’t care.”

No balcony for us. We stood side-by-side in a crowd of men in the plaza when they clamped metal baskets of some flammable stuff to the horns. “Miguel, stay next to me and never, never get near the bull.” Two men lit the fires and set the bull free. We all scattered like rabbits.

Runners chased the bull through the streets and in turn it chased us. Paco and I got separated. I stopped, lost and panting, and suddenly the horns and fires were right in front of me.

I could smell the bull’s breath and I knew it could smell my fear. Paco yelled from a distance, “Miguel!” then in desperation, “Mike!” The bull turned away from me to chase other runners.

Paco and I trudged out of the village in silence. He refused to even look at me. I didn’t blame him. Later he forgave me and my hubris for ignoring his warnings and putting my life in danger; had I been hurt or killed he would have felt the fault was his.

Years later I painted this portrait of the bull. Now it hangs in the home of the mayor of the village. But the bull who spared me is still in me.

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More images on my website: johnmichaelkeating.com