Mexican artisans often reflect on the hardships they have endured attempting to keep their craft alive. Stoic, with faces to the sun, hands and feet firmly planted in the soil, many of the craftsmen from this part of the world live perched precariously on the battle line of globalization verses preservation of ancestral traditions. Life's hardships have taught them a sense of personal harmony and fellowship. And their folk art, from utilitarian to magnificent, reveals a background that stretches from before the Spanish conquest up to present day. It is folkart that the world craves, and a tradition that some modern artisans are struggling to maintain.

Potter Angel Ortiz Gabriel, a tenacious man of few words, has his studio-house-workshop located in Tonalá, Jalisco, Mexico. As is customary, his calling is a family affair. His vocation was learned from, and taught by his grandparents Cruz Gabriel and María Felix Bautista. It isn't just a livelihood, it is a lifestyle that is passed on through generations. He has been working with clay since he was 11 years old.

Angel studied with the famous Jorge Wilmot, an internationally renowned craftsman who has been honored with various accolades. Angel himself has won many prizes over his years in working his craft.

Currently, Angel is engaged in a project to revive the lost art of making pitito ronderos (clay whistles). Every time he makes a large piece, he uses the left over clay to make a pitito. They come in a myriad of different shapes and themes - animals, calaveras (skeletons), heads, etc. Sometimes, these whistles are also called ocharinas, a traditional folk instrument and was known to both the Mayan and Aztec cutltures.

He is also reviving the glazing and designs used in the early 1900s where more white was used in the decorations. Angel is very concerned about the fate of Mexican art and is doing more than his share to ensure many of these artforms and techniques are not forgotten or lost.

The modern conveniences were made available to potters, this work used to be seasonal. Unfired pieces must dry naturally before being placed in the kiln, otherwise they will explode under the oven's high temperatures. During the rainy season (late June through September), greenware doesn't dry well due to moisture in the air. Some artisans took other work such as harvesting corn, etc. to sustain themselves during this time of the year. The remaining dry months were committed to production of utilitarian ceramics, pieces that require two firings before completion.

Angel senior has dabbled in various art forms but barro bruñido (burnished pottery) is his forte. He has garnered many important awards on both the state and national levels.

His son and best student, Angel Ortiz Arana, follows in his father's footsteps. This tradition of bequeathing ancestral disciplines is one of the casualties of globalization. Many children decide not to follow a life dedicated to the fundamental elements of earth, water, air and fire. Young Angel, however, has taken his birthright to heart. Both artists will tell you that their work is an extension of who they are.

The process used by the Ortiz family is first selecting a quality grade clay. There are good veins of white and black clay in the town of Rosario, a few miles outside of Tonalá, Ajijic, Coyula and Colimilla. Once the clay is gathered and returned to the workshop, it needs to be mixed in proper proportions to make it both strong and flexible so it can resist humidity and heat.

The art piece is formed by hand and then placed in the shade to dry. As it loses its moisture, it becomes hard. The slight irregularities of the piece's surface are polished out with a river stone and water. Using small amounts of water to wash one side of the piece, they deftly sand the area with a smooth stone. Next comes a type of whitewash similar to varnish, which is brushed over the surface. Over this, earth tone paints are used to decorate the object. The designs come from their imaginations and memories. Now the piece is close to being finished. The next step is the firing at 600 degree C. It takes 2-1/2 hours to fire a piece of pottery.

In an article written by Héctor Rodríguez for a local periodical, Ortiz chats with Sr. Rodríguez about his perspective on life and the world. Angel's work, born from function, have evolved into works of art by the maestro's (master's) hand, like a sincere testimonial to humankind's existence on Earth. Images of farmers harvesting corn or tending animals, seasonal celebrations and fiestas, women kneading tortillas, observances of life and death, are among the subjects depicted on Ortiz Gabriel's burnished pottery.

This artform is one which is shared by those who speak the language of the land be they from Jalisco, Oaxaca or some region in between. It is the story of Angel Ortiz Gabriel - and of many artisans - a tale of a group of people who are able to put their dreams and ancestral legends into tangible forms, of craftsmen delicately balanced between past and present. This is why Feria Maestros del Arte was created - to offer artisans such as Angel Ortiz Gabriel a venue to educate the public as to the history and life that has been molded into every piece of his work and offer such artisans a place to sell their unique brand of folk or indigenous art.

Contact information:
Pedro Moreno 71A
Tonalá,Jalisco
333 683 0544
angel_ortiz02@hotmail.com

Or contact Marianne Carlson at (from the US) 01152 376 765 7485 or email marianne carlson@gmail.com.