Wood and stone can be inert materials. Human action – but also cosmic and natural processes – are capable of shaping elements that seem to rest in an eternal sleep. From “a glance”, the craftsman is capable of finding the image of an extinct animal in the branch of a fallen tree, of multiplying the visual senses in which a trunk can derive, of chiseling and figuring in stone the tides of images that inhabit his mind.
The stone and wood they use are, in themselves, elements of meaning: copal and fossil. From the varieties of copal, from its ritual and creative sense, multiple scenarios can be derived: the resin clears into smoke, which cleanses, as they tell us, the space of negativity.
Fossils amaze us because they are objects that have condensed time and have left intact the primordial form that constitutes them: they are messages from a remote confine, which have much of a magical element. The shape of the spiral refers to cyclical time, to introspection, to inner reflection. The spiral of a snail informs us about remote times, times that we know about precisely because of the hardness of the stone. This need to recognize, to think about the origin, is important for this work.
“On more serene nights the surface of the Ocean sees Nautilus approaching among corals. There his old age hears the voice of wood”
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