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José Morey – Art Exhibition ‘Amazonia 2004’ Catalogue


The catalogue of the Amazonia 2004 Exhibition in Iquitos, Peru. Featuring the work of local artist José Morey

Artist Bio – Translated from Spanish

José MOREY JOS RIOS Loreto, Iquitos natural – Peregresado School of Fine Arts in Iquitos Pea Victor.  Morey has done many exhibitions locally, nationally and internationally and eight solo Through his short but fructfera work in the field of plastic arts. Graduated the year 1992 has been developing art workshops in the school of our city as a teacher. His work was initially based on use of language to express the view Linear selvtico mostly with themes of flora and fauna, reaching proposal to establish a modern and pioneering geometric interpretation of trends within contemporary artists neo locale. The pictorial technique includes the traditional materials read on canvas applied with brush, geometrized forms and shapes, that after his first solo steps away a bit of regional issues amaznicos, to cover a comunicacinms wide, to universalize his art travs conventional geometric shapes squares, cubes, circles, spheres, triangles, polyhedra, etc .- have also the same as a conventional language itself ylneas points as independent.

In 1998 he won an Honorable Mention in the First National Biennial of Lima – Peren regional qualifying stage, which leads him to exhibit in the city of Lima that same year, with outstanding national and international artists invited to do so event. In 2001, when he attended the Complementacin s academic UNAP arises in a match between the artist and information on the antiquity of the people of America in an anthropology class in which the texts respondents talk about research in the area amaznica of Brazil, where pictorial artistic remains discovered in caves and rock paintings, stone arrowheads ago, ten to twelve thousand years of antiquity.

This knowledge motivates and stimulates the search for a way or how to interpret these facts to travs of painting, time of the encounter with the natural material used as llanchama material, which is the top surface armata Poulsenia tree, variety amazonian belonging to the family of the Morea, and abounds in Peruvian departments of Amazonas, Huanuco, Loreto, Madre de Dios, San Martn Ucayali. The fruits of this variety are similar to figs. This is native cloth sail and used by people from different ethnic groups since time immemorial, dressing, sleeping on them or covered, making ornaments and decorative painting body as headbands, bracelets and anklets. This fabric is located between the wood and bark of the tree, like a shirt sleeve, which then detach with gentle strokes are cut off the stem and dried for domestic use. JosMorey painted with oil paintings on the web natural advantage of the wide variety of textures that show, whose lines simple, compound or interrupted offer a thousand and one ways that have been printed on the fabric, the bark of these trees, as if they were carved by time stamps on these natural elements, but living inmviles. The shapes of the texture that Morey llanchama get to color, give way to the pictorial work, this texture is used in addition to his designs. These designs include in its incredible variety, may be a reflection of a pre-established unique and original composition. Iquitos – Peru 2007

Original Spanish

Artista Pintor loretano, natural de Iquitos – Perú, egresado de la Escuela Superior de Bellas Artes de Iquitos ?Víctor Morey Peña?, ha realizado muchas exposiciones colectivas a nivel local, nacional e internacional y ocho exposiciones individuales a través de su corta pero fructífera labor en el campo de las artes plásticas. Egresado el año de 1992, ha venido desarrollando talleres de arte en la Escuela de nuestra ciudad como profesor.

Su trabajo inicialmente se basó en el uso del lenguaje lineal para expresar el panorama selvático en su mayoría con temas de flora y fauna, llegando a establecer una propuesta geométrica interpretativa moderna y pionera dentro de las tendencias de artistas contemporáneos del entorno local.

La técnica pictórica recoge los materiales tradicionales del óleo aplicado con pinceles sobre lienzo, geometrizando formas y figuras, que luego de su primera individual, se aparta un poco de los temas regionales amazónicos, para abarcar una comunicación más amplia, buscando universalizar su arte a través de formas geométricas convencionales ?cuadrados, cubos, circunferencias, esferas, triángulos, poliedros, etc.- los mismos que también poseen un lenguaje convencional propio al igual que puntos y líneas independientes.

En 1998 obtiene una mención honrosa de la Primera Bienal Nacional de Lima – Perú, en su etapa clasificatoria regional, que lo lleva a exponer en la ciudad de Lima ese mismo año, junto a destacados pintores nacionales e internacionales invitados para tal evento.

El 2001, cuando cursaba estudios de Complementación Académica en la UNAP se suscita una coincidencia del artista con informaciones sobre la antigüedad de los pobladores de América en una clase de antropología, en la cual, los textos consultados hablan de investigaciones en la zona amazónica del Brasil, donde se descubren vestigios artísticos pictóricos en cuevas ?pintura rupestre- y puntas de flechas de piedra de hace diez a doce mil años de antigüedad.

Este conocer motiva y estimula la búsqueda de una manera o forma de interpretar estos hechos a través de la pintura, momento en que se produce el encuentro con la ?llanchama? materia natural utilizada como tela, que es extraída del árbol poulsenia armata, variedad amazónica que pertenece a la familia de las moráceas, y abunda en departamentos peruanos de Amazonas, Huanuco, Loreto, Madre de Dios, San Martín y Ucayali. Los frutos de esta variedad se parecen a ?higos?.

Esta ?tela nativa? es extraída y utilizada por los pobladores de las diferentes etnias desde tiempos inmemoriales, para vestirse, dormir sobre ellas o cubrirse, pintarlas decorativamente o hacer adornos corporales como vinchas, brazaletes o tobilleras.

Esta tela se sitúa entre la madera y la corteza del árbol, como la manga de una camisa, que luego de desprenderla con golpes suaves, son cortadas para retirarlas del tronco y secadas para su uso doméstico.

José Morey pinta con óleos sobre esta tela natural aprovechando la gran variedad de texturas que presenta, cuyas líneas simples, compuestas o interrumpidas brindan mil y una formas que han sido impresas sobre ella ?la tela- por la corteza de estos árboles, como si fueran sellos labrados por el tiempo sobre estos elementos naturales, inmóviles pero vivientes.

Las formas de la textura de llanchama que Morey consigue dar color, abren paso a la obra pictórica, esta textura además es utilizada por sus diseños.

Estos diseños que recoje en su increíble variedad, podrían ser el reflejo pre establecido de un sistema compositivo único y original.

Iquitos – Perú; 2007

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NEW BOOK – The Ayahuasca Visions of Pablo Amaringo – FORTHCOMING April 2011


The Ayahuasca Visions of Pablo Amaringo

Cover of forthcoming book - April 2011

About The Ayahuasca Visions of Pablo Amaringo

A new collection of never-before-published paintings by renowned artist Pablo Amaringo

• With written contributions by Graham Hancock, Jeremy Narby, Robert Venosa, Dennis McKenna, Stephan Beyer, and Jan Kounen

• Contains 47 color plates of Amaringo’s latest works, with detailed narratives of the rich Amazonian mythology underlying each painting

• Shares Amaringo’s personal stories behind the artistic visions

Recognized as one of the world’s great visionary artists, Pablo Amaringo was renowned for his intricate, colorful paintings inspired by his shamanic visions. A master communicator of the ayahuasca experience–where snakes, jaguars, subterranean beings, celestial palaces, aliens, and spacecraft all converge–Amaringo’s art presents a doorway to the transcendent worlds of ayahuasca intended for contemplation, meditation, and inspiration.

Illustrating the evolution of his intricate and colorful art, this book contains 47 full-color reproductions of Amaringo’s latest works with detailed explorations of the rich Amazonian mythology underlying each painting. Through their longstanding relationship with Amaringo, coauthors Charing and Cloudsley are able to share the personal stories behind his visions and experiences with Amazonian people and folklore, capturing Amaringo’s powerful ecological and spiritual message through his art and words. With contributions by Graham Hancock, Jeremy Narby, Robert Venosa, Dennis McKenna, Stephan Beyer, and Jan Kounen, this book brings the ayahuasca experience to life as we travel on Amaringo’s visionary brush and palette.

About the Author(s) of The Ayahuasca Visions of Pablo Amaringo

Pablo Amaringo (1938-2009) trained as a curandero in the Amazon, healing himself and others from the age of ten, but retired in 1977 to become a full-time painter and art teacher at his Usko-Ayar school in Pucullpa, Peru. The author ofAyahuasca Visions: The Religious Iconography of a Peruvian Shaman, his art has been displayed throughout the world.
Howard G. Charing is a director of the Eagle Wing’s Centre for Contemporary Shamanism and the coauthor of Plant Spirit Shamanism. Peter Cloudsley is a musicologist, writer, and the founder of the Amazon Retreat Centre in Peru.
Authors:
Howard G. Charing
Peter Cloudsley
and Pablo Amaringo

ISBN-13: 978-1-59477-345-7
ISBN: 1-59477-345-9

Hardcover Book — 01/04/11

Page Count: 192; 10.50 (width) x 13.50 (height)

Includes 48 color plates and 12 color photographs

Imprint: Inner Traditions

http://www.amazon.com/Ayahuasca-Visions-Pablo-Amaringo/dp/1594773459/ref=sr_1_3?s=books&ie=UTF8&qid=1284285889&sr=1-3

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The Ayahuasca Visions of Pablo Amaringo – an Interview with the Great Visionary Artist


Update: A new Video of Pablo Amaringo

Pablo Amaringo is one of the world’s greatest visionary artists, and is renowned for his highly complex, colourful and intricate paintings of his visions from drinking the Ayahuasca brew. Pablo is interviewed at his gallery in Pucallpa, Peru, by Howard G Charing and Peter Cloudsley.
Pablo Amaringo with Howard G Charing.
Pablo Amaringo trained as a curandero in the Amazon, healing himself and others from the age of ten, but gave this up in 1977 to become a full-time painter and art teacher at his Usko-Ayar school. His book, Ayahuasca Visions: The Religious Iconography of a Peruvian Shaman, co-authored with Luis Eduardo Luna, brought his work and the rich mythology of the Amazon to a wide audience in the West.

Pablo Amaringo was born Puerto Libertad, in the Peruvian Amazon. He was ten years old when he first took Ayahuasca—a visionary brew used in shamanism, to help him overcome a severe heart disease. The magical cure of this ailment via the healing plants led Pablo toward the life of a vegetalismo in which he worked for many years.

Howard and Peter met with Pablo at the school which he founded (Usko-Ayar school of painting) in Pucullpa where he lives and paints, and interviewed Pablo about his life as a shaman and artist.

What drew you to being a shaman?

It was a spiritual matter for me. I had thought that shamans deceived and lied to people, so I didn’t believe in them. I thought that Ayahuasca healed people because it was medicine, I didn’t believe in magic and spirits. No! Then in 1967 I saw a curandera miraculously heal my sister who had been in mortal agony with hepatitis, and could not either eat or speak, but with this single healing from the plants, she was cured in just two hours. That motivated me to start learning the science of vegetalismo

She was given Ayahuasca?

No, the Senora used the knowledge of Ayahuasca and chanted. That was during the day. That same night I drank and received the powers, but I didn’t know what I was being given. I saw many things. I sat like a king and watched! After that I dieted for five days, staying at home, without seeing many people.

After one month I began to feel what everybody else was feeling, it was a very strange thing! And I discovered I could sing the chants without even learning them. They came out beautifully and I wondered how it was possible that I knew them. I realised I had powers in me and I began to be a curandero when I cured a young man with a terrible headache, firstly I felt it and then he was better.

Is it an important part of the cure, to feel what the patient feels?

That was how the powers were given to me, but others say that when they take the Ayahuasca, they can see what the problem is with their patient. I didn’t even have to drink, I felt exactly where their pains were, and their emotions, everything.

Pablo Amaringo Painting

What plant did you take on your diet?

Just Ayahuasca, but afterwards I took other plants at the same time as Ayahuasca, to learn more things.

Then you practiced as a curandero in Pucullpa?

Yes, and for many years I travelled to Madre de Dios, Cusco, Lima, Huanuco, Tingo Maria and Alto Ucayali. Wherever I went I cured people.

At that time Pucullpa was much smaller.

Yes, the houses were mostly wooden, with cultivation behind them, there were no high buildings. None of the streets had tarmac, they were of red mud, except for the one central Plaza. The road to Lima was terrible and it took a month or more to get there.

How do you communicate with plant spirits after you take them into you?

When you take any plant other than Ayahuasca, you connect through your dreams. Ajo sacha, Chric Sanango, Bobinsana etc. you learn while you are asleep. But with Ayahuasca no, you are conscious and awake. That is why it is the planta maestra – the eye through which you see the world, the universe. It is miraculous and sacred and you can learn from your studies far more with Ayahuasca than with other plants, but you must obey the ‘statutes’ of this plant, i.e. the rules. If you obey, no knowledge will be withheld from you.

My visions helped me understand the value of human beings, animals, the plants themselves, and many other things. The plants taught me the function they play in life, and the holistic meaning of all life. We all should give special attention and deference to Mother Nature. She deserves our love. And we should also show a healthy respect for her power!

How did you discover your gift of painting?

I used to make portraits and landscapes when I was 20 years old, but mostly using charcoal. But this didn’t earn me any money so I dedicated myself to other things, agriculture, raising animals and hairdressing, all kinds of things. I was working as secretary to the chief of customs here in the port of Pucullpa. One day my boss told me to paint two armchairs, and as I had never painted, I just slapped on the paint any old how, and it looked awful with lumps everywhere. But the boss didn’t reprimand me; he said how come you are good at everything except painting? I was a little hurt because he was always so impressed by everything I did. This made me think that if I was going to learn to paint, I would learn to do it well.

After three years working there I had a heart problem and returned to doing portraits in pencil beginning with my own portrait.

How did you begin painting visions?

Years passed and I used to say to my mother, when I am older I will paint several pictures of myself so that after I am dead people will know there has been a painter in the family! One day I was asked to accompany a foreign gentleman because I spoke a little English but I did not know that he was the biologist Denis McKenna. After some years he recommended me for a job in Sepagua but I was not able to take it up because my mother fell ill. So when he came back in 1985 I asked him if he would show my pictures in an exhibition he was organizing in Switzerland. They were small pictures, but later he returned with Luis Eduardo Luna who said how beautifully you paint Pablo. I can promote your work; do you want to be a world class painter?

I said no, I don’t want any of those things. I don’t know what a ‘world class’ painter is. I just want you to help me sell my pictures to make a little money. I was portraying the daily realities of people in the Amazon, how they sow and harvest, how they fish and celebrate their fiestas and so on. Luna said how is it I haven’t met you before now? Every year I have been coming for the last eight years, travelling up the Amazon through Brazil and Peru to Panama!

I asked him why he came. What was he looking for? We are interested in the magical plants of Peru from the coast, Sierra and Selva . I know what you are after, I said. I used to be a shaman ten years ago, what a shame you didn’t know me before, but now I have put all that behind me. I could have told you so much about what I had seen, I said. Then I started to think that I could paint for him all the things I had seen in my visions and all the things that were explained to me. But I had to do it in secret because even when people saw photos of what I painted, they said I had gone mad, that I was bedevilled and painting things of the demon!

They worried me with these remarks. I could never have had an exhibition here in Pucullpa. So Luna said paint for me then! And I made two pictures of visions for his next visit, and when he saw those pictures – one of which is in the Museum of Washington DC and the other in the University of Stockholm – they took hundreds of pictures of them. But I said he could take them away. And that’s what they did, wrapped up in a huge box. They sold them and sent me the money. After that they said we don’t want any more landscapes, only visions!

They studied them and said they found language and biology in the pictures so later I began to make explanations of them. But I could never show them to people here. That’s how it all started.

Are people still prejudiced here?

Yes, many are still. Once some religious people came and said that if the name of Jesus was spoken the paintings would explode. And they asked me to say Jesus. I said I can’t say that word, what for? They said to each other, he has got the devil in him, if he says Jesus, he will explode!

You have many amazing paintings here in your studio; can you tell us something about them?

The pictures are a means by which people can cross spiritual boundaries. Some people say they can only believe what they see, but there are thing which exist which cannot be seen. The pictures are for reminding people what we are and where we come from and where we are going. They are for people of any culture in the world although there is much that is taken from indigenous Amazonian culture.

Would you like to add anything more about the importance of plants?

For me personally, though, they mean even more than this. Plants—in the great living book of nature—have shown me how to study life as an artist and shaman. They can help all of us to know the art of healing and to discover our own creativity, because the beauty of nature moves people to show reverence, fascination, and respect for the extent to which the forests give shelter to our souls.

The consciousness of plants is a constant source of information for medicine, alimentation, and art, and an example of the intelligence and creative imagination of nature. Much of my education I owe to the intelligence of these great teachers. Thus I consider myself to be the “representative” of plants, and for this reason I assert that if they cut down the trees and burn what’s left of the rainforests, it is the same as burning a whole library of books without ever having read them.

People who are not so dedicated to the study and experience of plants may not think this knowledge is so important to their lives—but even they should be conscious of the nutritional, medicinal, and scientific value of the plants they rely on for life.

My most sublime desire, though, is that every human being should begin to put as much attention as he or she can into the knowledge of plants, because they are the greatest healers of all. And all human beings should also put effort into the preservation and conservation of the rainforest, and care for it and the ecosystem, because damage to these not only prejudices the flora and fauna but humanity itself.

Even in the Amazon these days, many see plants as only a resource for building houses and to finance large families. People who have farms and raise animals also clear the forest to produce foodstuffs. Mestizos and native Indians log the largest trees to sell to industrial sawmills for subsistence. They have never heard of the word ecology!

For the original interview (including photos of his paintings) first published in Sacred Hoop Magazine, visit Howard’s website, Interview with Pablo Amaringo

Below a video clip Pablo Amaringo at his home in Pulcallpa. Pablo is showing Howard some of his paintings, including some large mural sized paintings.

Join with Pablo Amaringo on a special Ayahuasca and Visionary Art Workshop July 25th – August 5th 2009. Full details are on the web at;

http://www.shamanism.co.uk/pablo-amaringo-workshop/Pablo-Amaringo-Visionary-Art-Workshop.html


Howard G. Charing, is an accomplished international workshop leader on shamanism. He has worked some of the most respected and extraordinary shamans and healers in the Andes, the Amazon Rainforest, and the Philippines. He organises specialist retreats to the Amazon Rainforest He is the author of the best selling book, Plant Spirit Shamanism (Destiny Books USA), and has published numerous articles about plant medicines. Website www.shamanism.co.uk

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