{"title":"Products","description":" ","products":[{"product_id":"gods-of-folly-oil-on-canvas","title":"'GODS OF FOLLY' - Oil on Canvas","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Michael Prettyman","offers":[{"title":"48'' x 48''","offer_id":47071838077217,"sku":"","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-30_beca13ce-52f5-40f2-a3c7-16f71b0cf034.jpg?v=1716218463"},{"product_id":"victoria-victoria-oil-on-30-tondo-canvas-2022","title":"'VICTORIA, VICTORIA' - Oil","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe artwork titled 'Victoria, Victoria' by Michael Prettyman is a painting with a unique circular format that breaks away from the traditional rectangular canvas, immediately creating a distinctive presentation. The subject is centered and fills the composition, a figure shrouded in a ghostly, flowing garment that drapes elegantly, giving a sense of movement and softness to the form. The garment's folds are rendered with careful shading, providing a three-dimensional quality, and suggesting the volume and shape of the figure beneath.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe color scheme is relatively limited, focusing on cool tones that range from the light turquoise of the background to the deeper shadows of the draped form. This monochromatic approach draws attention to the play of light and shadow, emphasizing the delicate gradations and subtleties of the form. The eyes of the figure are two dark spots, the only break in the otherwise muted palette, which creates a haunting focal point within the piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe painting’s smooth finish and the way the figure is set against a flat color background lends it an almost surreal or otherworldly quality. There’s a serenity and mystery to the work, inviting contemplation on the identity and emotions of the obscured figure. It’s a piece that combines elements of realism with the ethereal, creating an intriguing visual tension.\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Prettyman","offers":[{"title":"30 X 30","offer_id":47071866093857,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-29_9587ddf8-3291-4f07-9fe2-9b40167ff213.jpg?v=1716218438"},{"product_id":"problematico-oil-on-30-canvas-tondo-2023","title":"'PROBLEMATICO' - Oil on Canvas","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Michael Prettyman","offers":[{"title":"30 X 30","offer_id":47071867601185,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-28_a61ad4c6-123b-4d59-98e8-dfa365cf4763.jpg?v=1716218360"},{"product_id":"st-anger-oil-on-canvas-24-x18-2022","title":"'ST. 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The central figure, which appears shrouded or draped, is rendered with a high degree of realism, particularly in the folds and contours of the covering, which suggest a heavy, fabric-like material.\u003cbr\u003eThe figure is set against a muted background of soft pinks and whites that blend seamlessly together, providing a sense of calm and serenity. The color scheme and the title of the piece may allude to the unexpected nature of a snowfall in April, where the starkness of snow is tempered by the warm promise of spring.\u003cbr\u003eThe shroud over the figure is detailed with subtle variations in hue and value, from deep, shadowy creases to highlights that seem to suggest a source of light illuminating the form from above. This light creates a delicate interplay of light and shadow across the surface of the fabric, enhancing the three-dimensional effect.\u003cbr\u003eThere is an element of mystery in the composition, as the figure's features are obscured, inviting viewers to ponder the identity of the subject or the symbolism behind the shroud. The title 'My Friend, April Snow' suggests a personal narrative or relationship between the artist and the subject, perhaps referencing themes of transformation, concealment, or revelation.\u003cbr\u003eOverall, the painting strikes a balance between representational art and abstract emotional expression, using the figure's posture, the tactile quality of the drapery, and the atmospheric background to convey a mood that is contemplative and introspective.\u003cbr\u003e","brand":"Michael Prettyman","offers":[{"title":"48” x 36”","offer_id":47170052260129,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-26_e748ff15-507e-45cd-8a16-2634adcde70c.jpg?v=1716218131"},{"product_id":"forgivness-oil-on-panel-12-x12","title":"'FORGIVENESS' - Oil on Panel","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Michael Prettyman","offers":[{"title":"12” x 12”","offer_id":47071874941217,"sku":"","price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-25_f55c68fe-4617-4d37-b84a-2a8a55dfcac1.jpg?v=1716218106"},{"product_id":"as-you-were-oil-on-canvas-12-x12","title":"'AS YOU WERE' - Oil on Canvas","description":"\u003cp\u003eThe artwork titled ‘As You Were’ by Michael Prettyman is a contemplative piece that combines elements of abstraction and figuration. The central figure, which is shrouded or cloaked, is rendered with a rich, earthy palette of browns, umbers, and ochres, evoking the feeling of organic material or the natural world.\u003cbr\u003eThe figure is depicted with a soft, almost ethereal quality, as if emerging from or merging with the background. A halo or corona of light seems to emanate from or surround the figure's head, suggesting a spiritual or otherworldly presence. This luminous effect contrasts with the darker, more grounded tones of the figure itself, creating a focal point that draws the viewer's eye.\u003cbr\u003eThe background is a hazy, muted green that fades into the edges of the canvas, providing a calming counterpoint to the warmer tones of the figure. The subtle gradient of the background suggests depth and space, giving the figure a sense of being situated within a larger environment.\u003cbr\u003eTextures in the painting are varied, with some areas appearing smooth and others showing visible brushwork or palette knife marks, adding to the overall tactile experience of the piece. The painting's surface is dynamic, with a sense of movement and flow that enhances the figure's drapery.\u003cbr\u003eOverall, 'As You Were' is an evocative work that balances between representation and abstraction. It invites introspection and evokes themes of identity, presence, and the passage between the physical and the metaphysical. The artwork's title, ‘As You Were,’ may imply a return to a previous state or essence, adding a layer of narrative or conceptual depth to the visual experience.\u003cbr\u003e\u003c\/p\u003e","brand":"Michael Prettyman","offers":[{"title":"12” x 12”","offer_id":47071881330977,"sku":"","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-24_8a5f619f-e3ee-428a-a846-3bf46b042282.jpg?v=1730557433"},{"product_id":"everything-you-know-oil-on-canvas-52-x49-2023","title":"'EVERYTHING YOU KNOW' - Oil on Canvas","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe artwork titled 'Everything You Know' by Michael Prettyman is a dramatic and emotive landscape painting that captures the destructive beauty of a wildfire. The canvas is dominated by a vivid contrast between the tranquil, misty atmosphere of the distant mountains and the intense, fiery blaze consuming the foreground.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn the upper portion of the painting, the mountains are depicted with soft, muted tones of blues and greens, creating a serene and majestic backdrop. The mist envelops the peaks, adding a layer of depth and mystery to the landscape, with subtle gradations suggesting the play of light and shadow through the haze.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe tranquility of the scene is disrupted by the raging fire in the lower portion. The artist has skillfully rendered the flames with dynamic brushwork, using a palette of bright reds, oranges, and yellows that leap out against the cooler colors of the background. The fire's glow is reflected on the smoky plumes rising into the sky, merging with the mist in a display of nature's power.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBelow the flames, the field is depicted with somber tones, interspersed with small, delicate flowers that provide a poignant contrast to the destructive force of the fire. The detail in the grasses and flowers is meticulous, offering a textural counterpoint to the smoothness of the sky and the chaotic energy of the fire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis piece is rich in symbolism and emotion, suggesting themes of destruction, renewal, and the impermanence of knowledge and nature. It is a visually arresting work that conveys the sublime, the beauty, and terror of natural phenomena, and the vulnerability of the known world in the face of nature's unpredictable force.\u003c\/span\u003e\u003c\/p\u003e","brand":"Michael Prettyman","offers":[{"title":"52” x 49”","offer_id":47071883985185,"sku":"","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-23_f24b75aa-3f62-4f47-abd4-d04163209732.jpg?v=1716218025"},{"product_id":"turn-it-up-oil-on-48-tondo-panel-2023","title":"'TURN IT UP' - Oil","description":"\u003cp\u003e\"Turn It Up\" stands out not just for its evocative imagery but also its choice of medium: a 48\" circular tondo, a form that harks back to the Renaissance era. This choice of canvas instantly sets the painting apart, making the viewer aware that they are about to engage with something distinct.\u003c\/p\u003e\n\u003cp\u003eUpon engaging with the artwork, one is immediately greeted by a palette of soft, subtle colors that seem to whisper rather than shout. The muted tones, however, do not detract from the intensity of the scene — they amplify it. There's a gentle rhythm in the palette, with colors flowing seamlessly, enhancing the overall unity of the piece.\u003c\/p\u003e\n\u003cp\u003eAt the center bottom of the tondo, almost dominating the foreground, is a cluster of sheep, rendered in large imagery. The scale of these animals in comparison to the rest of the painting lends them an almost monumental presence. Their stoic stances, juxtaposed against the serene backdrop of the field, creates an immediate emphasis. The choice to depict the sheep in this manner might hint at themes of innocence, tranquility, or even obliviousness.\u003c\/p\u003e\n\u003cp\u003eYet, this tranquility is dramatically contrasted by the events unfolding in the background. Positioned centrally, atop a flat plateau mountain, a fierce fire or perhaps a volcanic eruption takes form. The form and line of the erupting flames or molten lava are in stark contrast to the gentle curves of the peaceful field and the still sheep. This juxtaposition makes the viewer ponder the balance of life, the suddenness of change, and the dichotomy of stillness versus chaos.\u003c\/p\u003e\n\u003cp\u003eThe erupting scene is painted with just enough abstraction that it could be interpreted as a fire, a volcanic eruption, or even a metaphorical representation of pent-up emotions, societal upheavals, or environmental warnings. The ambiguity invites the viewer to bring their own interpretations and experiences into their understanding of the piece.\u003c\/p\u003e\n\u003cp\u003eThematically, \"Turn It Up\" offers layers of narrative. On one level, it speaks to the unpredictability of nature — the calm pastoral life can be disrupted without warning. On another level, it could allude to internal battles, the contrast between external composure and internal turmoil.\u003c\/p\u003e","brand":"Michael Prettyman","offers":[{"title":"48” X 48”","offer_id":47071888965921,"sku":"","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-22_5ee588e3-f111-4b85-8439-f47825af9f56.jpg?v=1716217367"},{"product_id":"as-for-me-i-prefer-witches-oil-on-canvas-30-x36-2023","title":"'AS FOR ME - I PREFER WITCHES' - Oil on Canvas","description":"\u003cp\u003eIn Michael Prettyman's evocative artwork \"As For Me, I Prefer Witches,\" he employs a 30' x 36' canvas to encapsulate an enigmatic and almost otherworldly scene, steeped in classical motifs while also offering contemporary nuances.\u003c\/p\u003e\n\u003cp\u003eThe setting is nighttime, casting a majority of the scene in moody and shadowy tones. This choice of a nocturnal backdrop provides a rich contrast for the elements within and accentuates the mysterious ambience of the piece. A small brush field stretches across the canvas, offering a sense of space and solitude. It is punctuated by three pronounced trees, possibly pine, with their distinctive silhouettes standing tall and formidable against the dark sky, evoking the principles of verticality and emphasis.\u003c\/p\u003e\n\u003cp\u003eAdding to the drama is a fog, colored in a haunting greenish-black hue, that envelops the landscape. The fog, with its ethereal quality, serves as an element of transition, blurring the boundaries between the tangible and the supernatural.\u003c\/p\u003e\n\u003cp\u003eFrom the left top corner, there emanates a luminous glow, suggesting the presence of the moon, though it remains tantalizingly out of view. This light source introduces an element of chiaroscuro to the piece, playing with light and shadow to generate depth and mood. The moonlight, soft yet potent, becomes an anchor of brightness in the otherwise shadow-dominated canvas.\u003c\/p\u003e\n\u003cp\u003eHowever, what truly captivates the viewer's gaze is the deep, dark pink circle that seems to encircle the upper branches of the central tree, creating a halo that reaches out into the brilliance of the moonlight. This unusual and almost surrealistic choice of color in a predominantly dark environment introduces an element of contrast, surprise, and focus. It hints at something mystical, perhaps alluding to the title's mention of witches, suggesting energies, rituals, or a portal to another realm.\u003c\/p\u003e\n\u003cp\u003eIn \"As For Me, I Prefer Witches,\" Prettyman masterfully blends the classical principles of composition, balance, and emphasis with a thematic depth that invites viewers to delve into the mysteries of nature and the unknown.\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e","brand":"Michael Prettyman","offers":[{"title":"30” x 36”","offer_id":47071893946657,"sku":"","price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/White-21_a8ad2d3a-478f-4741-b277-9f6edfd51cbd.jpg?v=1730557426"},{"product_id":"you-and-me-and-the-war-oil-on-canvas-36-x48-2023","title":"'YOU AND ME AND THE WAR' - Oil on Canvas","description":"\u003cp\u003e\"You, Me, And The War\" is an arresting 36\" x 48\" oil on canvas piece that commands immediate attention. At first glance, the viewer is met with a bold composition defined by the interplay of vibrant, multivariable colors and stark contrasts.\u003c\/p\u003e\n\u003cp\u003eThe left side of the painting is dominated by a fierce display of fire, rendered in brilliant hues, setting an intense mood. Its powerful, almost violent presence offers a stark juxtaposition to the serene beauty of the forest scene. Dominating the center is a magnificent tree, symbolizing perhaps resilience or the passage of time. Its form, grand and detailed, holds the viewer's gaze and adds depth to the composition.\u003c\/p\u003e\n\u003cp\u003eContrastingly, to the right, the painting offers a sense of calm and hope. The viewer's eye is drawn to a beautiful body of water, its surface glistening and reflecting the surroundings. Above it, a faint double rainbow emerges — a universally recognized symbol of hope, promise, or transformation.\u003c\/p\u003e\n\u003cp\u003eThe top portion of the painting introduces an element of the sublime. Smoke from the fire mingles with dark clouded colors, creating an ominous overhead. However, this darkness is punctuated by a radiant silver glow — perhaps the sun — beaming from the top right corner, where it intersects with the rainbows. This addition of light, both in its hue and thematic symbolism, introduces a nuanced layer to the narrative, perhaps suggesting that even in the aftermath of destruction, there is beauty and hope.\u003c\/p\u003e\n\u003cp\u003eThe texture in the painting, a quality inherent to oil mediums, amplifies the sensory experience. One can almost feel the rough bark of the tree, the heat of the flames, and the cool tranquility of the water. The rhythm in the painting is evident in the repeated patterns of the flames, leaves, and ripples in the water, guiding the viewer's eye throughout the canvas.\u003c\/p\u003e\n\u003cp\u003eThematically, \"You, Me, And The War\" could be a narrative piece, telling a story of conflict, resilience, and hope. Its title invites interpretation — is the war a literal one, or does it allude to internal battles, environmental crises, or societal conflicts? The setting, a forest with both fiery destruction and water's tranquility, hints at cycles of life, destruction, and rebirth, making it resonate with universal themes.\u003c\/p\u003e\n\u003cp\u003eThe balance in this artwork is masterful. The intense fire on the left is counteracted by the calming waters on the right, with the massive tree acting as a fulcrum in the center. 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The artist utilizes a warm, earthy palette dominated by tones of terracotta, sienna, ochre, and amber, evoking the vast and sandy landscapes of Africa.\u003cbr\u003eThe work is composed of a series of fragmented, geometric shapes that interlock and overlap, creating a sense of depth and dimensionality. These shapes might be reminiscent of aerial views of desert landscapes, where the shifting sands create organic, yet somehow geometric forms. The edges of the shapes are outlined with dark lines, adding definition and further emphasizing their structural qualities.\u003cbr\u003eTextures play a significant role in this piece, with the paint applied in a way that suggests the coarse granularity of sand. This textured surface works to enhance the tactile nature of the subject matter, inviting viewers to almost feel the roughness of the desert.\u003cbr\u003eThe application of paint varies across the canvas, with some areas appearing smooth and others more heavily built up, providing a contrast that adds visual interest and complexity to the composition. The composition's fragmented nature, combined with its textural richness, suggests the layered and ever-changing topography of the Sahara.\u003cbr\u003eOverall, ‘SAHARA SANDS | TOUR THROUGH AFRICA’ by Megan Gonyo is a contemplative piece that captures the essence of the desert through an abstract lens. It is a painting that invites introspection and evokes the majesty and solitude of the Saharan landscape, encouraging the viewer to consider the beauty found in the natural world's vast, open spaces.\u003cbr\u003e\u003c\/p\u003e","brand":"Megan Gonyo","offers":[{"title":"40'' x 30''","offer_id":47337410593057,"sku":null,"price":1400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/SAHARA-SANDS-TOUR-THROUGH-AFRICA.png?v=1705885255"},{"product_id":"strait-of-gibraltar-designer","title":"'STRAIT OF GIBRALTAR | DESIGNER'","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Megan Gonyo","offers":[{"title":"78'' x 75''","offer_id":47337416229153,"sku":null,"price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/STRAIT-OF-GIBRALTAR--TOUR-THROUGH-AFRICA.jpg?v=1705885217"},{"product_id":"unexpectedly-acrylic-on-canvas","title":"'UNEXPECTEDLY | DESIGNER'","description":"The artwork titled 'Unexpectedly' by Megan Gonyo is an abstract painting that communicates through a spontaneous arrangement of forms, lines, and textural elements. The composition is centered on a muted, salmon-pink background, which conveys a sense of warmth and softness, setting a calm, understated stage for the other elements in the piece.\u003cbr\u003eAtop this background, there is a variety of marks and shapes in contrasting colors, including a deep blue patch, black scribbles, white strokes, and smaller accents of yellow and blue. These applications of paint vary in thickness and opacity, suggesting an exploratory process of layering and movement.\u003cbr\u003eOne of the most striking features is the word \"TRUST\" written in a bold, freehand style, slightly obscured by the blue paint above it. The inclusion of text within an abstract context introduces a narrative dimension, prompting viewers to consider the interplay between the visual elements and the conceptual significance of trust in the context of the unexpected.\u003cbr\u003eThe textures in the painting range from thick, impasto areas to thinner, almost translucent layers. Some marks appear to be made with a swift, gestural hand, adding dynamism and a raw, expressive quality to the work.\u003cbr\u003eThe overall effect of 'Unexpectedly' is one of controlled chaos, where deliberate artistic choices and chance seem to coexist. It is a piece that invites contemplation, both for its aesthetic qualities and for the themes it subtly proposes through its title and the integration of text within the visual composition.\u003cbr\u003e","brand":"Megan Gonyo","offers":[{"title":"48'' x 36''","offer_id":47337421209889,"sku":"","price":2100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/UNEXPECTEDLY.png?v=1706281355"},{"product_id":"untitled-oil-on-canvas","title":"'UNTITLED' - Oil on Canvas","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Bryan Trainor","offers":[{"title":"16'' x 20\"","offer_id":47370784637217,"sku":"","price":770.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/UNTITLED.jpg?v=1715268818"},{"product_id":"miffy-fountain-oil-on-panel","title":"'MIFFY FOUNTAIN' - Oil on Panel","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Bryan Trainor","offers":[{"title":"8'' x 10\"","offer_id":47370804003105,"sku":null,"price":240.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/MIFFY-FOUNTAIN.jpg?v=1715268788"},{"product_id":"taxiarch-oil-on-canvas","title":"'TAXIARCH' - Oil on Canvas","description":"\u003cspan data-mce-fragment=\"1\"\u003eConnecting more people with more original art\u003c\/span\u003e","brand":"Bryan Trainor","offers":[{"title":"36'' x 48\"","offer_id":47370808983841,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/TAXIARCH.jpg?v=1715268761"},{"product_id":"wise-one-bolivianos-collection-soft-pastel-on-sandpaper","title":"\"WISE ONE - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58\" x 38\"","offer_id":47419302478113,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/WISE-ONE---BOLIVIANOS.jpg?v=1715264161"},{"product_id":"the-moralist-bolivianos-collection-soft-pastel-on-sandpaper","title":"\"THE MORALIST - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47419652178209,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/THE-MORALIST---BOLIVIANOS_1dff1fda-e5a1-408c-b55d-9fad6d83f99e.jpg?v=1730556660"},{"product_id":"shadow-bolivianos-soft-pastel-on-sandpaper","title":"\"SHADOW - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47419750777121,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/SHADOW---BOLIVIANOS.jpg?v=1715263792"},{"product_id":"sacrificial-bolivianos-soft-pastel-on-sandpaper","title":"\"SACRIFICIAL - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47419877130529,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/SACRIFICIAL---BOLIVIANOS.jpg?v=1715263690"},{"product_id":"the-mentalist-bolivianos-soft-pastel-on-sandpaper","title":"\"THE MENTALIST - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47419926511905,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/THE-MENTALIST---BOLIVIANOS.jpg?v=1715263968"},{"product_id":"overlord-bolivianos-soft-pastel-on-sandpaper","title":"\"OVERLORD - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47419959050529,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/OVERLORD---BOLIVIANOS.jpg?v=1715263480"},{"product_id":"raconteur-bolivianos-soft-pastel-on-sandpaper","title":"\"RACONTEUR - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47420056437025,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/RACONTEUR---BOLIVIANOS.jpg?v=1715263646"},{"product_id":"the-enigma-bolivianos-soft-pastel-on-sandpaper","title":"\"THE ENIGMA - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47420060205345,"sku":"","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/THE-ENIGMA---BOLIVIANOS.jpg?v=1715263928"},{"product_id":"trickster-bolivianos-collection-soft-pastel-on-sandpaper","title":"\"TRICKSTER - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47420066562337,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/TRICKSTER---BOLIVIANOS.jpg?v=1715264082"},{"product_id":"majordomo-bolivianos-soft-pastel-on-sandpaper","title":"\"MAJORDOMO - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"20” x 26”","offer_id":47420076425505,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/MAJORDOMO---BOLIVIANOS.jpg?v=1715263405"},{"product_id":"sentinels-bolivianos-soft-pastel-on-sandpaper","title":"\"SENTINELS - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"38” x 58”","offer_id":47420121514273,"sku":"","price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/SENTINELS---BOLIVIANOS.jpg?v=1715263725"},{"product_id":"poseur-bolivianos-soft-pastel-on-sandpaper","title":"\"POSEUR - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47420140650785,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/POSEUR---BOLIVIANOS.jpg?v=1715263562"},{"product_id":"prophecy-bolivianos-soft-pastel-on-sandpaper","title":"\"PROPHECY - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47420146319649,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/PROPHECY---BOLIVIANOS.jpg?v=1715263599"},{"product_id":"viceroy-bolivianos-soft-pastel-on-sandpaper","title":"\"VICEROY - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47420158542113,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/VICEROY---BOLIVIANOS.jpg?v=1715264121"},{"product_id":"shamanic-bolivianos-soft-pastel-on-sandpaper","title":"\"SHAMANIC - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26\" x 20\"","offer_id":47420167913761,"sku":"","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/SHAMANIC---BOLIVIANOS.jpg?v=1715263838"},{"product_id":"oracle-bolivianos-soft-pastel-on-sandpaper","title":"\"ORACLE - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47420176269601,"sku":"","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/ORACLE---BOLIVIANOS.jpg?v=1715263444"},{"product_id":"the-orator-bolivianos-soft-pastel-on-sandpaper","title":"\"THE ORATOR - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"38” x 58”","offer_id":47420184133921,"sku":"","price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/THE-ORATOR---BOLIVIANOS.jpg?v=1715264042"},{"product_id":"the-champ-bolivianos-soft-pastel-on-sandpaper","title":"\"THE CHAMP - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: right;\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47420188229921,"sku":"","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/THE-CHAMP---BOLIVIANOS.jpg?v=1715263882"},{"product_id":"poker-face-black-paintings-soft-pastel-on-sandpaper","title":"\"POKER FACE - BLACK PAINTINGS\" Soft Pastel on Sandpaper","description":"\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003ch2 data-mce-fragment=\"1\" style=\"text-align: center;\"\u003eBlack Paintings\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e“The assimilation of styles and motifs from African cultural artifacts into the work of avant-garde artists was a means of challenging conventional western aesthetic values and hierarchies that reflected what those artists perceived as a vacuous and moribund society. In looking to these sources to invigorate their own creative visions, what these artists actually discovered were new ways of seeing and making art.”\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e- Wendy Grossman in\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e“Man Ray, African Art, and the Modernist Lens”\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eI am drawn to Mexican and Guatemalan cultural objects—masks, carved wooden animals, papier mâché figures, and toys—for reasons similar to those of Man Ray and the modernists, who in their case were drawn to African art. On trips to Mexico and Guatemala I frequent local mask shops, markets, and bazaars searching for the figures that will populate my pastel paintings and photographs. How, why, when, and where these objects come into my life is an important part of my creative process. I take very old objects with a unique Mexican or Guatemalan past—many have been used in religious festivals—and give them a second life, so to speak, in New York in the present. When I return home I read prodigiously and find out as much about them as I can.\u003c\/p\u003e\n\u003cp\u003eThe\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBlack Paintings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eseries of pastel-on-sandpaper paintings grew directly from the earlier\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDomestic Threats.\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eBoth series use cultural objects as surrogates for human beings acting in mysterious, highly-charged narratives. In the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBlack Paintings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ethe figures (actors) take central stage. All background details, furniture, rugs, etc. are eliminated and replaced by intense dark black pastel. Each painting takes months to complete as I slowly layer and blend up to 30 layers of soft pastel.\u003c\/p\u003e\n\u003cp\u003eThe idea for the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBlack Paintings\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ebegan when I attended a jazz history course and learned how Miles Davis developed cool jazz from bebop. In bebop the notes were played hard and fast as musicians showcased their technical virtuosity. Cool jazz was a much more relaxed style with fewer notes, i.e., the music was pared down to its essentials. Similarly my current series evolved from dense, complex visual compositions into paintings that depict only the essential elements—the actors. As the series evolves what is left out becomes increasingly more important, resulting in more demands being placed on the viewer.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Barbara Rachko","offers":[{"title":"38\" x 58\"","offer_id":47420461973793,"sku":"","price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/POKER-FACE.jpg?v=1715263527"},{"product_id":"the-opinions-blossom-acrylics-on-canvas","title":"''THE OPINIONS' BLOSSOM'' Acrylics on Canvas","description":"\u003cp\u003e\u003cstrong\u003e\"The Opinions' Blossom''\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eA garden of perspectives and viewpoints, a\u003cbr data-mce-fragment=\"1\"\u003ecelebration of open-mindedness.\u003cbr data-mce-fragment=\"1\"\u003eEach stroke a view — diverse and bold, like\u003cbr data-mce-fragment=\"1\"\u003eflowers in bloom. An explosion of colors\u003cbr data-mce-fragment=\"1\"\u003erepresenting thoughts and ideas.\u003cbr data-mce-fragment=\"1\"\u003eEach brushstroke intends to symbolize the\u003cbr data-mce-fragment=\"1\"\u003ediversity of thoughts and the beauty of\u003cbr data-mce-fragment=\"1\"\u003eindividual expression\u003cem\u003e.\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Amanda Kowalski","offers":[{"title":"50'' x 70''","offer_id":47424005013793,"sku":"","price":680.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/THE-OPINIONS_-BLOSSOM.jpg?v=1715173550"},{"product_id":"disruptor-bolivianos-soft-pastel-on-sandpaper","title":"\"DISRUPTOR - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47426702115105,"sku":"","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/DISRUPTOR---BOLIVIANOS.jpg?v=1715263272"},{"product_id":"entity-bolivianos-soft-pastel-on-sandpaper","title":"\"ENTITY - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"26” x 20”","offer_id":47426711617825,"sku":null,"price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/ENTITY---BOLIVIANOS.jpg?v=1715263312"},{"product_id":"impresario-bolivianos-soft-pastel-on-sandpaper","title":"\"IMPRESARIO - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47426725904673,"sku":"","price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/IMPRESARIO---BOLIVIANOS.jpg?v=1715263351"},{"product_id":"avenger-bolivianos-soft-pastel-on-sandpaper","title":"\"AVENGER - BOLIVIANOS\" Soft Pastel on Sandpaper","description":"\u003ch2 style=\"text-align: center;\"\u003eBolivianos\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eIn reality the festive masks made of stucco or cloth which the dancers wear to cover their psychological masks of submission, indifference and self-inflicted censure, permit them to show their true faces. By virtue of this paradoxical covering to uncover, all the unconfessed desires, the repressed energies and the hidden resentments overflow in a torrent of color, movement and melody: a magnificent awakening of a sleeping culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMasks of the Bolivian Andes,\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEditorial Equipus and Banco Mercantil\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMy long-standing fascination with traditional masks took a leap forward in the spring of 2017 when I visited the National Museum of Ethnography and Folklore in La Paz, Bolivia. One particular exhibition on view, with more than fifty festival masks, was completely spell-binding.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe masks were old and had been crafted in Oruro, a former tin-mining center about 140 miles south of La Paz on the cold Altiplano (elevation 12,000’). Depicting important figures from Bolivian folklore traditions, the masks were created for use in Carnival celebrations that happen each year in late February or early March.\u003c\/p\u003e\n\u003cp\u003eCarnival in Oruro revolves around three great dances. The dance of “The Incas” records the conquest and death of Atahualpa, the Inca emperor when the Spanish arrived in 1532. “The Morenada” dance was once assumed to represent black slaves who worked in the mines, but the truth is more complicated (and uncertain) since only mitayo Indians were permitted to do this work. The dance of “The Diablada” depicts Saint Michael fighting against Lucifer and the seven deadly sins. The latter were originally disguised in seven different masks derived from medieval Christian symbols and mostly devoid of pre-Columbian elements (except for totemic animals that became attached to Christianity after the Conquest). Typically, in these dances the cock represents Pride, the dog Envy, the pig Greed, the female devil Lust, etc.\u003c\/p\u003e\n\u003cp\u003eThe exhibition in La Paz was stunning and dramatic. Each mask was meticulously installed against a dark black wall and strategically spotlighted so that it became alive. The whole effect was uncanny. The masks looked like 3D versions of my “Black Paintings,” a pastel paintings series I have been creating for ten years. This experience was a gift… I could hardly believe my good fortune!\u003c\/p\u003e\n\u003cp\u003eKnowing I was looking at the birth of a new series – I said as much to my companions as I remained behind while they explored other parts of the museum – I spent considerable time composing photographs. Consequently, I have enough reference material to create new pastel paintings in the studio for several years. The series, entitled “Bolivianos,” is arguably my strongest and most striking work to date.\u003c\/p\u003e","brand":"Barbara Rachko","offers":[{"title":"58” x 38”","offer_id":47426791735585,"sku":null,"price":60000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0792\/0589\/2385\/files\/AVENGER---BOLIVIANOS.jpg?v=1715263192"}],"url":"https:\/\/apricus-art-collection.myshopify.com\/collections\/all.oembed?page=2","provider":"Apricus Art Collection","version":"1.0","type":"link"}