ART & TIME
ARTICLES
• A Review about “The RItual of the Snake by Aby Warburg”
• The Healing Power of Art Therapy: Benefits for Adults and Children
• GMB Akash: Capturing Humanity Through the Lens
Poetry from XIX century poets.
INTERVIEW
• Interview with artist “Lena Bartula: Art, Activism, and the Language of Textiles”
WORKSHOPS, PUBLICATIONS AND QUIZ
• On Women Book from Sri Aurobindo and The Mother
• Our remote workshops and courses
• The different videos with artist in our channel
• The answer to the last Quiz.
Magazine Art & Time Editorial Credits
Editor-in-Chief: Claudia Sanginés Sayavedra
Editorial Team:
• Claudia Sanginés, Art Historian
• Matteo Scala, logo design and support
• Other people that wish to remind anonymous
Contributors:
Some contents where correct and translate with AI Chat GPT https://chat.openai.com/chat
• Artist Lena Bartula
• Artist GMB Akash
• People that remain anonymous
We extend our heartfelt thanks to the diverse group of contributors whose work enriches this magazine. Their insights and creativity span various fields including art, history, spirituality, and philosophy.
Design and Layout:
• Alasart team, Graphic Designer
Photography:
• Cover photo Lena Bartula work
• GMB AKASH Photographer
• Other photo painting Ophelia, John William Waterhouse
• Other photos by Alasart team and Lena Bartula
Special Thanks: We are grateful to the individuals and organizations who have supported our vision and mission.
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Copyright ©November, 2024, Alasart. Art & Time. All rights reserved.
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ARTICLES
A Review about “The RItual of the Snake by Aby Warburg”
The Healing Power of Art Therapy: Benefits for Adults and Children
GMB Akash: Capturing Humanity Through the Lens
INTERVIEWS
Interview with artist “Lena Bartula: Art, Activism, and the Language of Textiles”
Workshops, publications and quiz
On Women Book from Sri Aurobindo and The Mother
Our remote workshops and courses
The different videos in our YouTube channel
The answer to August Quiz.
ARTICLES
A Review about “The RItual of the Snake by Aby Warburg”
Ma. Claudia Sanginés Sayavedra
Aby Warburg's lecture appears to be a preliminary exploration from the perspective of art history into the artistic representations of the Pueblo Indians. The author draws upon ethnological studies and certain tools from anthropology to engage directly with the symbolism of the snake among the Indigenous peoples of northern Mexico. The ritual of the Indigenous peoples is conveyed through the integration of their most frequently used elements: dance, painting, music, and weaving. This approach represents one of Warburg’s key contributions—examining the arts as a unified whole.
Through ethnographic methods, Warburg immerses himself in the culture of the Pueblo Indians, recognizing their identity and thereby setting aside Western frameworks. The dance
rituals of the Pueblo Indians are rational and intelligible ways of conceptualizing the world.
However, it is noteworthy that the author does not fully detach himself from Western judgments when writing about the Indigenous people and their rituals. While he attempts to delve into their worldview and their perception of nature, Warburg compares the snake ritual and its associated myths with representations found in Western contexts across various periods. It is in this comparative endeavor that the author compromises some of his rigor, as he fails to carry out a thorough iconographic analysis or provide a detailed description of the object of study, resulting instead in an approximation.
It is my view that the text lacks a rigorous iconographic methodology and is not grounded in a clear theoretical framework.
Furthermore, the text leaps through history in an unsubstantiated manner, making it more of a personal reflection on life and human psychology than a systematic academic study.
Warburg approaches the subject from a contemporary standpoint, utilizing ethnology, which diverges from the traditional methods of studying Pre-Hispanic art history.
The latter typically relies on historical sources and artworks recovered from antiquity. As such, Warburg's work does not aim to produce a traditional art history text but rather a hybrid of art and ethnology.
Warburg’s Fascination with the Primitive and the Magical
Aby Warburg, a renowned historian of art, displayed a profound interest in cultures where technological modernity coexisted with deeply rooted ancestral practices. For him, it was fascinating to observe how a technologically advanced society could still be intertwined with magical rituals and primitive traditions, representing a pagan connection to nature and daily
Superstition and Everyday Life
In these communities, superstition is not separate from daily life but rather enriches it. Natural phenomena, animals, and plants are revered as beings with their own spirit, whose influence the indigenous people seek to shape through dances and ritual masks.
While modern humans might perceive this blend of magic and daily life as a psychological dichotomy, for indigenous peoples, it represents a liberating bond that connects humans to their environment.
Cultural Layers and the Clash of Influences
Since the 16th century, indigenous traditions have been overlaid with layers of Catholic ecclesiastical education and, later, by North American educational influences. This clash created a unique cultural mosaic, especially visible in places like Acoma and Laguna, where pagan cosmological symbols still adorn churches, blending architecture with indigenous cosmology.
The Symbolism of the Serpent and Myth
In indigenous traditions, the serpent holds a central role as a symbol of lightning and fertility. Rather than a figure of sacrifice, the serpent, consecrated in rituals and dances, becomes a mediator for rain. This symbolism, deeply rooted in myths and rituals, connects humans with natural forces, embodying both destructive power and the potential for rebirth and transformation.
In classical antiquity and biblical scriptures, the serpent also held complex interpretations: from its role as a symbol of evil in Genesis to its figure as a healing deity in the cult of Asclepius. This duality renders the serpent a universal symbol of transformation and causality.
Rituals and Technology: A Fascinating Contrast
Warburg observed that indigenous rituals, like the snake dance, represent a primordial effort to understand and control natural phenomena. However, as technology advanced, these mythological explanations were replaced by rational models. For example, lightning, once associated with divine powers, was demystified by inventions such as Franklin’s lightning rod and Edison’s electrical cables.
Although modernity has tamed nature and reduced distances with advancements like the airplane and telegraph, Warburg reflected on the impact of this transformation. Science, by replacing symbolic explanations with mathematical calculations, eliminates the contemplative space that once connected humans to the cosmos.
Final Reflection
Warburg invites us to question whether technological rationality truly brings us closer to understanding the great enigmas of existence or if it distances us from a deeper spiritual connection to the world.
The symbolism of the serpent, in both its mythical and technological dimensions, remains a reminder of humanity’s ceaseless quest to decipher the mysteries of its surroundings and itself.
This passage underscores a key feature of Aby Warburg’s thought: his focus was not on establishing a rigid methodology for studying images but on encouraging intellectual curiosity and opening diverse epistemological paths to comprehend their power and meaning. Unlike theorists such as Erwin Panofsky, who formulated a systematic tripartite framework for iconology, Warburg’s approach is more openended, stimulating creative and subjective interpretations.
Warburg’s declaration, “I am a historian of images (Bildhistoriker), not an art historian,” encapsulates this distinction.
While traditional art history focuses on stylistic, technical, or
chronological analyses, Warburg broadened the scope to include the symbolic and psychological power of images and their role in shaping ideas, emotions, and beliefs over time. Images, for Warburg, are not merely artistic objects but cultural memory carriers, transcending their original context to resonate across interpretations and disciplines such as anthropology, psychology, and philosophy.
His work invites us to explore the enduring gestures, symbols, and archetypes embedded in the human imagination.
Fotos del Ritual de la serpiente, fotografo anónimo
A Reminiscence
“Yes, thou art gone! and never more Thy sunny smile shall gladden me; But I may pass the old church door, And pace the floor that covers thee, May stand upon the cold, damp stone, And think that, frozen, lies below
The lightest heart that I have known, The kindest I shall ever know.
Yet, though I cannot see thee more,
‘Tis still a comfort to have seen; And though thy transient life is o’er, ‘Tis sweet to think that thou hast been; To think a soul so near divine, Within a form so angel fair, United to a heart like thine, Has gladdened once our humble sphere.”
Anne Brontë, English, 1820-1849
Ophelia by John William Waterhouse - Mythological Goddess Witchy
The Healing Power of Art Therapy:
Benefits for Adults and Children
In a world that moves at lightning speed, it’s easy to feel overwhelmed by life’s challenges, be it stress, trauma, or emotional struggles. Traditional therapy methods such as talk therapy can be helpful, but sometimes words aren’t enough to fully express what we feel inside. This is where art therapy comes in—a creative, transformative form of therapy that uses art-making as a way to help individuals communicate, process emotions, and heal from within. Whether you’re an adult dealing with anxiety or a child struggling with emotions, art therapy offers a powerful outlet for self-expression and personal growth.
What Is Art Therapy?
Art therapy combines the creative process of making art with psychotherapy to foster mental, emotional, and physical wellbeing. It’s not about artistic talent—anyone can participate.
Art therapists, are trained professionals who guide you through the process, and encourage self-expression through drawing, painting, sculpting, or other forms of visual art.
Art therapy provides a space where thoughts, feelings, and experiences can be explored in a non-verbal way. For both adults and children, this form of therapy can be particularly effective when emotions are too complex, buried, or overwhelming to express through words alone.
Key Benefits of Art Therapy for Adults
1. Emotional Release and Stress Reduction
Creating art provides a healthy outlet to express pent-up emotions such as anger, sadness, or fear. The act of painting or drawing helps you externalize those emotions and transform them into something tangible, leading to emotional relief. Studies have shown that engaging in creative activities can reduce cortisol levels, helping to alleviate stress and anxiety.
2. Self-Discovery and Personal Growth
Art therapy encourages self-reflection, allowing individuals to better understand themselves. When you engage in art-making, subconscious thoughts and feelings may emerge, helping you gain insight into hidden fears, desires, or unresolved conflicts. This process can be empowering, fostering personal growth and deeper self-awareness.
3. Trauma Healing
For people who have experienced trauma, art therapy can serve as a safe and gentle way to process painful memories. Trauma survivors may struggle to verbalize their experiences, but through art, they can express those experiences visually. This can make the healing process less overwhelming and more accessible.
4. Improved Mental Health
Studies have shown that art therapy can reduce symptoms of depression, anxiety, PTSD, and other mental health conditions. By providing a constructive and therapeutic way
to cope with emotions, art therapy fosters resilience and emotional stability over time.
Art Therapy for Children: A Gentle Approach to Emotional Well-being
Children, particularly younger ones, may struggle to articulate their feelings verbally. Art therapy allows them to communicate their thoughts and emotions in a way that feels natural to them—through play and creativity. Here’s why art therapy is especially beneficial for children:
1. Improved Emotional Regulation
Children often experience big emotions that they can’t fully understand or control. Through art, they can express these emotions visually, helping them to process and regulate their feelings. Art therapy can teach children healthy ways to cope with frustration, anger, or sadness.
2. Enhanced Communication Skills
Art therapy provides a non-verbal way to communicate for children who have difficulty expressing themselves verbally, whether due to developmental delays or emotional struggles. It can help children express what they’re unable or unwilling to say in words, creating a bridge for communication with caregivers or therapists.
3.
Boosted Confidence and Self-Esteem
Creating art allows children to take control of their environment and express their individuality.
The sense of accomplishment that comes with creating something uniquely their own can boost their self-esteem and give them a sense of pride in their abilities.
4.
Healing
from Trauma or Loss
Children who have experienced trauma, such as the loss of a loved one, divorce, or abuse, can benefit greatly from art therapy. Creating art helps children process their experiences in a safe and supportive environment, aiding their emotional healing and recovery.
5. Developing Fine Motor Skills
In addition to emotional and psychological benefits, art therapy can also help children develop fine motor skills. Drawing, painting, and working with materials like clay help improve hand-eye coordination and refine the motor skills essential for everyday tasks.
How Does Art Therapy Work?
During an art therapy session, individuals are encouraged to engage in various creative processes—such as drawing, painting, or sculpting—while gently guided by a licensed art therapist. Sessions can be conducted one-on-one or in a group setting.
The goal is not to create a masterpiece but to explore the thoughts, feelings, and ideas that arise during the art-making process.
The therapist may ask the individual to reflect on their artwork or how they felt while creating it, but the focus is on expression and the therapeutic process rather than artistic technique. For children, the sessions may feel like play, making it an ideal approach for helping them open up emotionally.
Why Everyone Can Benefit from Art Therapy
Art therapy is for everyone—not just artists or those facing significant mental health challenges. It’s a universal tool for well-being that can benefit anyone looking to improve their emotional health, manage stress, or deepen their self-awareness. It offers a space for mindfulness, relaxation, and introspection—no matter your age or life circumstances.
If you’re someone who struggles to express emotions or has experienced trauma, or if you simply want a new way to foster personal growth, art therapy can be a fulfilling and powerful form of healing.
For children, it’s a fun and safe way to explore feelings, develop healthy coping mechanisms, and strengthen communication skills.
Conclusion: A Path to Healing and Growth
Art therapy is much more than a creative outlet. It’s a deeply healing practice that can enhance emotional resilience, promote self-discovery, and aid in the
healing of trauma for people of all ages. Whether you’re an adult looking to manage stress or a parent seeking helpfor your child, art therapy offers a compassionate and empowering path to well-being.
By picking up a paintbrush or molding clay, you may discover new insights and healing that words alone could never express.
If you’re curious about how art therapy can help you or your child, consider reaching out to a licensed art therapist to start the journey of creative healing.
So we invite you to try our workshops online and presential. We recommend Shai Porath for the California area and he specializes mostly in working children and special handwork.
We also have other recommendations for you let us know what are you looking for or where is your location to help you find the best consultant.
The Captive Knight
“By a loophole, I sit in my prison, Could see the blue of the heaven from there, I feel sharp pain and a shame at the vision Of heedless birds, freely playing in air.
On my dry lips, I’ve not any prayers, Nor any songs, that have ever to fly on, But I remember the ancient battles, My heavy sword and my coat of iron.
My stony armor – the cross I’m to bear, My stony helmet compresses my brow, My shield’s worn from a sword and a spear, My horse takes roads – I don’t now how.
Time is my horse that stays always my own, A helmet’s mask-visor – the grate on a hole, The walls are my armor that’s made of the stone, My permanent shield is the door’s iron fold.
Time! I desire to speed your hooves’ rattle! My stony armor is heavy to rise on!
Death, when we’ve come, will help me by the saddle; I will dismount and rise up my visor.”
Mihail Lermontov Russian 1814-1841
Translation by Yevgeny Bonver
Photography: A Path to Purpose
GMB Akash: Capturing Humanity Through the Lens
Akash’s journey into photography began unconventionally. Growing up in an environment where creative pursuits were scarce, his passion for the camera emerged unexpectedly in 1997 when he started using his father’s old camera. Overcoming societal and familial expectations, he devoted himself to photography, a journey he describes as filled with challenges yet deeply rewarding.
GMB Akash, an internationally acclaimed photographer, has dedicated his life to capturing stories of the voiceless. Born in 1977, Akash speaks Bangla, English, Hindi, and Urdu, using the universal language of photography to transform suffering into powerful images. Over his career, he has traveled to 22 countries, received more than 70 international awards, and featured his work in over 80 major publications, including *National Geographic*, *Time*, and *The New York Times*.
“For me, photography is my language to access, communicate, and identify,”
“It allows me to bring the experiences of the voiceless to the forefront, giving their identities meaning and purpose.”
Transforming Suffering into Art
Akash’s work focuses on shedding light on hidden injustices, such as child labor. His 10-year project *Survivors* documents lives touched by poverty, aiming not only to create awareness but also to inspire action. Akash has spearheaded initiatives to support individuals and families featured in his work, from starting small businesses to monitoring their progress.
He donates 25% of the proceeds from *Survivors* to support these efforts.
“For me, the challenge is not just documenting suffering but showing a path to change,” he explains. “Each smile I witness in these transformed lives is priceless.”
The Art Behind the Lens
When asked about his creative process, Akash reveals the patience and dedication behind his work.
“I spend hours waiting for the right moment. While I plan some shots, others happen spontaneously, capturing the magic of life.”
His favorite tools include the Canon 5D Mark II with 24-70mm and 35mm lenses, which he uses to craft deeply evocative images.
Akash’s philosophy revolves around perfectionism:
“Unless I can evoke the photograph’s feelings, it feels meaningless to me.”
Inspiration from Art and Life
Akash draws inspiration from a wide range of sources, including photographers like Steve McCurry and James Nachtwey, artists such as Leonardo da Vinci, and writers like Rumi. He admires those who push boundaries, whether it’s a blind painter like Lisa Fittipaldi or the natural world as captured in da Vinci’s sketches.
One of his favorite films, *Life o f Pi*, resonates with his outlook on life.
“It’s a story of survival and wonder, a reminder of the mysteries of the world.”
Spreading Messages of Love
At the heart of Akash’s work is love. His exhibitions aim to articulate the experiences of marginalized communities and inspire audiences to foster compassion and humanity. He believes photography is a medium to “shine a hidden light” on the world, helping others see the beauty and strength within the struggles of everyday life.
“Our simple work can inspire people to be better each day,” he reflects.
“Photography brings love to my world.”
The Legacy of GMB Akash
For Akash, every photograph holds a piece of his soul.
“Each image I create is an extension of me. It’s not just about the shot but about giving birth to a moment with a purpose.”
Whether through street photography or long-term projects, Akash’s mission remains steadfast: to make a difference, one frame at a time.
His advice to aspiring photographers?
“Be unique, master your craft, and look for the invisible. Through persistence and love, photography can change lives.”
Learn more about GMB Akash’s journey and projects on his website, GMB Akash http://www.gmb-akash.com/about.php
Why Am I Strong?
You will say that it is false. It is not right. I descend
To the depths of my soul every time I hesitate…
Every time a tear or a scream
Betrays my anguish – when I feel myself fainting…
And all astonishment, all love, I confess,
The threshold of this blessed country I cross : – The parties of infinity await me!
The horror of life, dazzled, I forget!
It’s just that there are valleys, skies, heights inside,
That the gaze of the world does not tarnish, the tender Moon, flowers, dear creatures,
And it sounds in every bush, in every cave,
The symphony of eternal passion!…
– And behold- make me strong again for the fight.
Narciza Amalia
Brazilian (1856-1924)
INTERVIEW
Interview with artist
“Lena Bartula: Art, Activism, and the Language of Textiles”
Welcome to our interview with the talented artist Lena Bartula, also known as Lena Bartula, La Huipilista. We›re thrilled to have you here today, Lena. Let›s dive right into our questions.
1. Alasart question:
Can you tell us about your background and how you became interested in art?
Lena: From the time I could hold a pencil, I’ve been making art. Known by my friends and teachers as “the artist,” there was nothing I couldn’t draw, and quite well, I suppose. It was natural that I turned to painting in my 20s, but I had babies to raise, and never made it to art school. That didn’t deter me,
it only delayed my learning. When the kids were in school, I took private and group lessons to improve my skills as an oil painter.
Alasart:It’s always fascinating to hear about the beginnings of an artist›s journey.
2. Alasart question:
At the beginning of your career, what inspired your approach to expressing ideas and feelings through art, and how has this approach allowed you to communicate your message effectively?
Lena: At the beginning of my career, in my late 20s, I studied oil painting with a private instructor who was a holdover from the Renaissance. After moving to Oklahoma City from my birth home, Fort Worth, I studied and painted in watercolor. I never returned to oil because of the smell and the toxicity. In my late-30s, I founded an artwear company and created jewelry and wearables, using acrylic on wood, leather, and paper. That’s when I began making paintings with acrylic. I also made art furniture at that time. Moving to Santa Fe in my 40s, I still made paintings and furniture, and that’s also when I began to travel to Mexico. Discovering the textiles there was the beginning of my fascination with the garment. At first, my garments were images in paintings, and although I collected huipiles from my travels, I didn’t begin using them until 2003. My first garment was created out of the necessity to save shipping costs when I had an upcoming show in Italy. I found that I could roll and fold this work to fit in a suitcase, a more affordable option than sending paintings in crates. After moving to Mexico in 2004, I was creating both paintings and textiles for a few years. It was 2006 that I decided to dive deeply into textile, in the form of a huipil. An indigenous garment from my new country inspired me to
use it as an art form, a vehicle for telling stories. As a kind of messenger, woven with symbology, it would be a new way of sharing information in a beautiful and truthful container.
3. Alasart question:
Your work often pays homage to women throughout history. Can you share what inspired this focus?
Lena: The first one I made, for Milan, was a shirt for Santa Lucia, after discovering that her feast day, December 13, was to be the date of the inauguration of the exhibit. Generally, when I take an exhibition to another country, I make at least one piece that will speak to the local audience. When I arrived in Mexico and began thinking of who would be another female that locals would relate to, so I made one for Sor Juana de la Cruz. After that, the series began to plan itself, and I continued that series until 2018. Almost all of the women I feature, through the centuries and around the world, are those who have made great contributions to Herstory, yet were maligned, negated, or silenced in some way. I bring their voices alive with fabric, thread, paper, found objects, etc…. materials that tell their stories.
Alasart: Honoring women through art is such a powerful and meaningful theme.
4. Alasart question:
In 2019, you published ‹Susurros en el hilo›. Can you tell us more about this book and the stories it shares?
Lena: Yes, Susurros / Whispers in the Thread, is a bilingual (English and Spanish) art book featuring many of the huipiles
Interviews “Lena Bartula: Art, Activism, and the Language of Textiles”
Ojo Sagrado, from the Yo Te Veo Project, 11x13” unframed Yo Te Veo / I See You, is a project I organized in 2023 to bring awareness to Palestine. Since last December, more than 200 people have stitched with us, whether here in San Miguel or around the world. Now the results of 11 months will be on exhibition for the first time, and for sale. See more of our work here.
LENA BARTULA
http://www.lenabartula.com/home.html
from 2003 – 2018. I spend most of 2019 writing, along with an editor, formulating the book with a designer, and working with a translator so the Spanish would be correct. Besides art, there are stories, legends, myths, poems, artist process, plus inclusions by contributing authors. It’s full color, 147 pages.
Alasart: Books can be such a wonderful way to extend the reach of your artistic vision.
5. Alasart question:
your current exhibition represents 20 years of work in textiles, focusing on themes of feminism and social activism. Can you tell us what this milestone means to you and how these themes have evolved in your work over the years?
Lena: “El Hilo Que Corre / A Running Thread” is like a textile retrospective. From the first huipil, which we already talked about, it has been a continuous journey to speak about issues I feel are important. I feel deeply that artists have a responsibility to narrate or represent the times in which we live. Even when I was a painter, it was never enough to paint just to be painting, my work always had a focus, a message. What shifted was the materials, and the amount of research I dedicate to each piece. I wouldn’t want to give voice to something or someone without knowing as much as possible about the circumstances, the causes, the facts, as much as they can be known. One of the biggest evolutions has come from the materials themselves, because for several years now, they’re about 98% recycled, found, gifted. The themes often evolve due to the materials on hand, and how they sync or don’t, with current events.
Alasart: Your dedication to these themes is truly inspiring.
6. Alasart question:
The second half of your current exhibition addresses issues like injustice, climate change, displacement, and human rights. What motivated you to explore these themes?
Lena: After moving past women in Herstory, I wanted to address issues that affect or effect life as we know it. Most often, I tackle a cause because I know it’s happening, I see that there isn’t much I can do about it except make art in the hope of creating awareness of it. Living in Mexico, I see more of the need for immigration reform. Just that one issue involves so many other issues, from displacement due to violence, or climate change, or child traficking, human rights, etc. Of course, many political decisions affect women, so it becomes about them as well. All of these are interconnected. We can’t speak of one thing that is one thing only. I think that’s why the problems feel unsolveable, and we lose hope. Most of the world’s govenrnments don’t connect the dots, or don’t want to see the big picture. I feel artmaking offers, or it can offer, a view of the bigger picture. Visual people tend to see the dots that connect us each to the other.
7. Alasart question:
You mentioned that a more random, perhaps more authentic voice emerged as you worked in your studio. Can you elaborate on this experience?
Lena: As my book was at the printer, and out of my hands, I was ready to dive back into the studio. I knew I was finished with the 15 year series, and I just felt it was time to move away from the garment. But I wasn’t sure how to proceed. I decided to just open bags and boxes of fabrics, and rather than looking for a certain color, texture, or pattern, I tossed it all onto the table and just stared at the pile. For days, I sat and waited for something to speak to me. Maybe my muse was on vacation, because I still didn’t have a clue where I was going. So I decided to hang a large piece of canvas on a rod. Then I intuitively chose a variety of textiles, one at a time, pinning and taping them to the canvas, standing back and looking, doing more of it, to see if it made sense. Eventually, I gave up trying to make sense, and continued to add more to the canvas, trying not judge it. That’s when I realized that what I wanted was to make something worthy, something beautiful, out of chaos. Three months later, as Covid began, I saw that the chaos I was working with, echoed the chaos in our world. What a symbol that was, and a confirmation that I was on track with what my heart wanted to express. So, by “authentic voice” I mean that I listened, followed my intuition, and moved forward without the pretense of knowing what I was doing. What evolved is the series of fabric collage / constructions that tell stories of their own.
Alasart: It’s crucial for art to engage with contemporary social and environmental issues.
Alasart: The creative process can often lead to unexpected and authentic expressions.
8. Alasart question:
How do you use materials like needle and thread to transform emotions such as fear, loneliness, and anxiety into art?
Lena: The needle and thread are the instruments I use to connect my hands with my heart, with the fabric. It’s a meditative, unending circle. When I feel fear, or grief, or despair, or anxiety creeping in, I breathe them in and allow them to just sit with me. I ask them to tell me whatever they have to tell me. I continue to breathe and listen, to feel what I’m feeling even when I don’t really want to. As I breathe out, I thank the emotions for coming. As my needle passes through fabric, I send out love and peace, and again with the needle, bring the love and peace back into myself. When I do this, it feels as if I’m mending the world while mending myself.
Alasart: Using traditional materials in innovative ways can create deeply personal and expressive art.
9. Alasart question:
What message or emotions do you hope to convey through your art, especially in this new series?
Lena: Mostly, I hope that it opens eyes and hearts, that it brings awareness to the healing power of art. Not only healing for ourselves, but also for situations that could
use some mending in our families, communities, and the world. I believe that all of us, not only artists, can be a part of that mending in our own way.
Alasart : Art can be a powerful medium for conveying profound emotions and messages.
10. Alasart question: What has been the most rewarding aspect of your career so far?
Lena: As a young artist, I didn’t know that finding my own voice was important. I was focused on technique and style. As a midcareer artist, I was intent on developing my own style, which meant finding my own voice in the big arena of the art world. As an older artist now, I think the most rewarding part of my career at this point, is that I know who I am, I know what I want to say, and I’m not afraid to say it. Determined to honor my commitment to truth, justice, and beauty, I discovered my soul work, my reason to exist as an artist.
Alasart: Its inspiring to hear about the fulfilling moments in an artist›s journey.
11. Alasart question:
Can you tell us about any upcoming projects or exhibitions you are excited about?
Lena: To be acknowledged for the work an artist is doing is perhaps the most exciting part of life. This summer, my work is on exhibition in one of the most important museums in Mexico, the Museo de Arte Popular in Mexico City.
Known for its massive and stunning collections of folk art, it also offers contemporary artists a space for work that is inspired by Latin American traditions such as textile, pottery, sculpture, etc.
As a textile artist inspired by the huipil, I feel honored to present my solo show “El Hilo Que Corre”, which translate to “A Running Thread.” Like a textile retrospective, it features works from the garment series to the fabric collage. Seeing it installed is a thrill because it demonstrates the evolution of the thread of my being, my interests, and my commitment through the last 20 years. My plan is to travel this exhibition, which is what I’m working on at the moment.
Alasart: We’re excited to hear what’s next for you and your ongoing projects.
Installation MAP Mexico, May 29-Aug 4
Lena: My favorite work currently is a project called “Yo Te Veo”, translating to “I See You.” It was conceived in November 2023, to address my grief and despair while watching a genocide unfold in Palestine. It has mushroomed into a collaboration involving over 100 people who want to stitch their grief and sorrow, with a
LOS ROSTROS DE LOS MIGRANTES, Casa Europa Mx, 2023
commitment to never stop seeing, never stop speaking out. We stitch fabric eyes onto fabric squares that were donated, then piece them together. Our first finished project was an oversized huipil that is featured in “El Hilo Que Corre.” The next project will be a large quilt to be sold in a fundraiser, to be determined. Bringing attention to genocide, war, displacement, and ethnic cleansing is important, and also helping in a real, tangible way is much needed.
12. Alasart question: What advice would you give to aspiring artists who want to make a meaningful impact with their work?
Lena: Find what is meaningful to you. You are the only person in the world with your unique experience, so dig deep and discover what part of you wants and needs to speak to the world. Then continue experimenting to find the medium that best suits those needs. Don’t be swayed by friends or galleries who think you’re a little too much, or not enough. Just do the work.
Alasart: Your insights and advice are invaluable to many emerging artists out there. Thank you for sharing such insightful answers with us, Lena.
LENA BARTULA
http://www.lenabartula.com/home.html
Ritual Chair for Reweaving our World, 42x80", wood,textile,found objects
"Ritual Chair", 42x80", was first created for a 2018 exhibition, curated by Alberto Lenz. In the beginning, only my personal ritual and ceremonial objects were woven into the structure, to reaffirm my commitment to our planet, our fellow humans, and the tenets of truth, justice and beauty. Later, with textile strips, beads, tassels and wizard sticks, the chair continues to grow as others add and attach their own amulets and memorabilia. This interactive artwork has become a cocreation ritual as together, we envision and call for the mending and healing of our Mother Earth and all her people, with loving actions such as this.
LENA BARTULA
http://www.lenabartula.com/home.html
Nuestra Señora de la Frontera, 45x55", migrant shoes and clothing on wire grid, 2023
"Nuestra Señora de la Frontera" is one of three works I created for an exhibition at Casa Europa, San Miguel de Allende. Proceeds benefit our migrant safe house and long term care facility in Celaya, Mx, a neighbor city of San Miguel. The exhibition hosts 8 artists whose works reflect the danger-filled journey of the brave souls who risk everything to escape poverty, violence and climate change that makes their lives unliveable. I asked at the safe house for the clothing and shoes that the migrants walk in with, and this work is created out of those materials, as a way of transforming the energy of their experience.
Long(ing) Arms, 29x42", repurposed textiles
"Long(ing) Arms" was created in 2021 at the height of the pandemic. At 44” wide and 29" high, it began with the universal longing to stretch our arms out long enough to hug, to wrap our arms around our loved ones. We were seperated by distance, by disease, by fear. As all around the world, we were more solitary than any of us knew how to be, and this garment was a deliberate move away from the huipil. It was a dream of being more connected, a wishful energetic connection.
http://www.lenabartula.com/home.html
http://www.lenabartula.com/home.html
ALASART EDITIONS
This publication (and its translation into Spanish) seeks to gather some of the most significant writings of Sri Aurobindo and the Mother “On Women.”
This book is a compilation of passages from the writings of Sri Aurobindo and the Mother aimed at dispelling some common misconceptions on the nature and role of women. It provides deeper insights into such subjects as the problem of woman’s attachment to her role as wife and mother, the unnecessary conflict between man and woman, yoga and the conquest of sex, woman in mythology, history, and literature, and how women can develop a new attitude and consciousness for the future realisation.
Especially today, as the issue of women’s roles in the world is gaining increasing urgency, we feel that the insights offered by Sri Aurobindo and the Mother can be very helpful in guiding readers toward a more true and profound understanding of the topic.
Originally published in 1978, this extremely significant book presents a completely novel and deep perspective on this critical, yet generally misunderstood, subject of feminism.
You are welcome to publish with us contact Alasart team
EXPLORE
ONLINE WORKSHOPS, CLASSES AND COURSES
WITH DIFFERENT INSTRUCTORS
“Healing Workshop: Theories and Practices of Chakras, Energy Channels, and Mandalas”
TOPICS TO BE REVIEWED
Work with the 7 chakras of the body system; learn their similarities in Western and Eastern language, and explore the colors that help each chakra, as well as the gemstones and mandalas that can aid in healing and balancing them. Discuss diseases related to each chakra.
First Chakra: The family and the masculine structure of life. Related glands, exercises, and ways to help unblock this chakra. Diseases associated with this chakra.
Second Chakra: Creative energy, sexuality, and feminine forms. Related glands, exercises, and ways to help unblock this chakra. Diseases related to this chakra.
Third Chakra: Discipline, success, and failures, along with issues and diseases associated. Mandalas for balancing, exercises, and methods for working with this chakra. Gemstones, colors, and mantras.
Fourth Chakra: The heart and its expression in daily life. Love for others, compassion. Colors, healing of related diseases, mandalas that help balance, mantras, and other tools. Equivalents in the West.
Fifth Chakra: Communication and ways to convey a message. Methods to work with this chakra. Colors, exercises. Diseases and possible healing methods.
Sixth Chakra: Supernatural issues, ghosts, invisible entities, energies, and other perceptions. Work on balancing this area of the body. Related glands and mandalas that assist. Colors and methods that may help.
Seventh Chakra: Thoughts, balance, and openness to something greater than oneself. Faith. Creation of mandalas directed towards this point. Relationships between Western and Eastern perspectives. Exercises related to this chakra.
For 1 to 6 students space, 28 hours
Introductory Workshop on Mandalas
2 to 8 students space
Topics to be reviewed:
The different meanings of mandalas in Western and Eastern cultures. The creation of the creative mind through mandalas.
The generation of ideas and logical forms to improve the organization of daily life.
The assistance of mandalas in psychological, motor, and emotional issues.
The different types of mandalas. The shapes and their meanings.
Colors and their significance.
Creation of different types of mandalas.
Possible days to choose from:
Monday or Friday time options: 1 hour or 2 hours each day
10 am to 12 pm course on zoom.
Total of 8 hours.
Heart Mandala
Created by student of Alaasart.
“Explore the Colors and Shapes of Your Inner World: Join Our Mandala Workshop!”
The Mandala del Corazón symbolizes love, compassion, and emotional healing. Designed with vibrant colors and intricate patterns, this mandala invites you to connect with your heart center, promoting feelings of peace and unity. Each element reflects the essence of love, encouraging you to embrace your true self and the love that surrounds you.
ASK FOR MORE WORKSHOPS OR COURSES
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Contrology with meditation
Annual Student membership - Discounts available and digital credential plus Alasart digital certificate.
Courses for children special requirements
Mensual membership - Not discount available
Courses with personalize topics for you
Quarterly membership- 10% discount available
Special discount for Alasart. Art and Time members.
E-MAIL: alasart44@gmail.com
Discounts from 50% to 20% on all our courses -Annual membership Only.
Any special consultant or particular therapy ask us and we will see if we can help you to find the best for you.
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ALASART. ART & TIME
YOUTUBE CHANNEL
Alasart. Art & Tiime. No. 2, November, 2024
Quiz Answer
Root Chakra
Structure, family, and Root. Muladhara Chakra Location and Area of Influence. It is located in the perineum, between the genitals and the genitals and the anus, below the sacrum. It regulates the digestive tract, governs the kidneys, the adrenal glands1 and the adrenal gland, the spinal column, the parasympathetic nervous system, the sexual functions, and is expressed in the hair and nails.
• Representative mandala: Four-petaled lotus
• petals.
• Associated Sense: Smell.
• Color: Red.
• Element: Earth.
• Gem: Ruby, jasper, garnet.
• Associated Deity: Ganesha and Brahma.
• Mantra to open and work the chakra:
• lam.
Back in our quiz from the previous issue of the magazine, here is the correct answer.
If you answer NO in the quizz from 1 to 7 and YES from 8 to 16, then you are really good balance in the energy field and work with the chakra.
Any other answer you will have to check what is happening and we will happy to help you to contact a healer to balance your energy and improve the life of the chakra. Contact us to provide you with a work plan, exercises, and different types of energy to balance that chakra.
https://huntington.org/
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Photograph Claudia Sangines, The Huntington Botanical Garden