Alebrijes step out from dried wood and stand in the shower of paint that falls from the brush’s tip. Yellow flash of lightning, pointillistic rain, garish colors that mirror those of the códices. The carvings take the form of fantasy figures, anthropomorphic animals, and mythological creatures.
Sometimes one individual selects the wood, carves it, then covers it in paint. Occasionally an entire family takes part in the work of making the alebrije. One person collects the wood and prepares it for carving. Another carves and sands it. A third works on the undercoat, and a fourth applies the final patterns of paint.
The great debate: does the form in the wood reveal itself to the carver or do the carvers impose their own visions on the wood? In the case of the team, do the family members debate and come to a joint conclusion?
These thoughts, exchanged with wood-carvers in Oaxaca, have led to a series of interesting conversations. What exactly is creativity? Where does it come from? Do we, as artists, impose it upon our creations? Or do we merely observe and watch as new ideas float to the surface of our minds? How does the creative mind really function? And, by extension, how much of the sub-conscious creative sequence can be placed into words?
Are they half-grasped dreams
that wake, wide eyed, to a new day’s sun?
Or are they alive and thriving
when they fall from the tree?
Does the carver fish their color and shape
from his own interior sea,
or does he watch and wait for the spirit
to emerge from its wooden cocoon
to be reborn in a fiery block of color?
in a secluded corner of my waking mind,
my neighbor’s dog greets the dawn with sparks
of bright colors born from his bark.
My waking dream: dark angels with butterfly bodies,
their inverted wings spread over my head to keep me warm.
In the town square, the local artist plucks dreams
from my head and paints them on carved wood.