Aug 4, 2019


"BOUND" 2018

Yesterday brought news of yet more killings by white male domestic terrorists. Gun control doesn't seem to be in favor in the U.S. Killings have gone viral, as they say in the world of social media. This is indeed a virus, a disease that plagues the country and has no vaccine in sight. Above is an installation of the Rainbow Goddess huipil I created in 2011, shown here in 2018 as a protest against the killings, and prayer for the victims. 

Below is a poem I wrote to accompany the installation after one of the multiple school shootings. It was a year of such tragedies that have not abated. All of this, in some perfectly balanced and hideous alternate reality that has thousands of children and families from south of the border detained, arrested and jailed. Day after day. For migrating to what they believe would be a better life. Can we even fathom the horror and terror they have experienced in their home countries, that would make the U.S. seem safer? 


Thoughts and prayers and not 
a goddamn change made by those 
who make the laws. Bound up with 
gun makers, gun sellers, gun lovers, 
aficionados, protectors of their 

right to bear arms. Putting their
lust for guns before their children.
Children whose dreams were boundless
and colorful and inspired like Dorothy 
and her magical friends.  Evil and pompous,

the wizard spoke from behind his curtain.
They persisted. They resisted,
and they exposed his madness.
Madness tears our world as easily as
shredding paper into strips. 

Rainbow children, we are not born evil
and we are not born mad.
Some of us grow into it.
Some of us grow becauseof it
lighting the way and mending the tears. 

Binding the wounds while unbinding 
hearts that have been trussed up for 
years.  Unbind the rainbow. 
Change will be made by dreamers
of every tribe and every color

loving unbound
learning unbound   
teaching unbound
speaking unbound 
marching unbound
singing dancing mourning shouting for 
those whose lives it took to say “no more!”

Lena Bartula

May 25, 2019


When I first opened La Huipilista Artspace, there was an office in the tiny back room. Until I got the exhibition spaces
up and running, I had no idea what to do with it:

Months later, it became apparent that it could be a great little artist residence, a place to come and stay for a month, make a little art, have an exhibition, enjoy San Miguel:
Former artist residence at La Huipilista Artspace

Then, just to lively things up, I (with a little help from my friends) created the Boho Sala, where there could be a mix of fine art and folk art, with plenty of textiles and some books about the huipil world...a space where visitors could hang out, with an entirely different vibe from the rest of the gallery.
Boho Sala at La Huipilista Artspace

As I neared completion of the room, I realized I had fallen 
in love with it, and wanted to live in it. So the news is, I 
have moved into the gallery, I'm in negotiations to buy the
building, and my beautiful but too big house, only 2 blocks 
away, is for rent as a complete house, on airbnb. For the past  7 years, only the upstairs portion has been for rent, but now as I continue daily to settle in here, there is also the option to rent the entire house: 3 bedroom, 3 bath, with art studio. Or just the downstairs. Todo se puede! / It's all possible!

Feb 26, 2019


Guardarropa exhibition by Marisa Boullosa

La palabra guardarropa define un espacio que asignamos para almacenar nuestros distintos atuendos del día a día,
 Es una segunda piel la ropa.  La que cubre al cuerpo.
Nuestra apariencia está determinada por el tipo de vestimenta que usamos.
La prenda de vestir le da una personalidad al cuerpo.
Marisa hace improntas de los pliegues de la ropa, la tela de la prenda  la adhiere a otra superficie para volverla plana, los pliegues en la superficie  son memoria. 
Registra, se desnuda. Lo que vestimos al observarlo sin nuestro cuerpo se vuelve  parte de nuestra historia de nuestro ser.
Mostrar de otra manera lo íntimo, velado, cada pliegue de tinta es un acontecimiento, parte de la memoria de quien ha portado ese atuendo.
La impresión es el registro del tiempo y la memoria.

-Berenice Torres Almazán
Febrero 2019


A place for storing our clothes, our different looks from day to day. 
The clothing that covers the body is our second skin, 
another appearance,
a personality; sometimes a different one. 
Marisa`s prints show the folds of clothing as if they are memories, like a record of time adhered to another surface. 
Stripped naked. 
Our clothes without our body become a history of our existence. 
The intimate, veiled.
Clothing well worn, lost, or put away for someone else to find: every fold embraces an event, a remembrance of someone who once wore that garment. 
Marisa`s prints are a record of time and memory trapped in the folds of discarded clothing, captured in ink and transferred to paper.

-Translation by Edward Swift

Jan 30, 2019


“in and out of conTEXT:
a bookarts invitational”

(context. early 15c., from Latin contextus "a joining together," originally past participle of contexere "to weave together," from com- "together" (see com-) + texere "to weave") 

More and more, this magical little town is becoming the epicenter of visual and literary arts, among so many other artforms both contemporary and traditional. Each February, the San Miguel Writer’s Conference becomes ground zero for a gathering of authors, readers, editors, publishers, and book lovers. But what are we to do with visual artists who make artful books?  A new exhibition, titled “in and out of conTEXT” aims to weave together these two arts, with Glen Rogers, DJ Barrett, Leigh Hyams and a few surprises. (I’m not telling, but they all have in common the letter B) The weaving arts are nothing new to La Huipilista Artspace, a home to textile arts that also specializes in craft, community and interdisciplinary concepts representative of the etymology of text and textile. 

Accordian books have inspired artist Glen Rogers, who divides her studio time between monotypes, paintings and sculpture, and her geographical space between San Miguel and Mazatlan. In Spot On, she utilized fragments of art and found paper from an artist exchange network of which she is a member, Global Art Project. Each artist was challenged to create works of art using these ‘found’ pieces received via mail. Combining them with the scrap metal, Glen embarked on a play of words and images that are rich, bold and textural.As a printmaker, I already had a passion for ink on paper and the book form challenged me to transform my 2-d work into sculptural form. Although bookart has never been my primary interest, I have returned to it for variety and as a unique way to express myself throughout my career.”

Another artist inspired by these scrolls was Leigh Hyams (1926–2013). Though she was primarily known a painter, visual journals were an integral part of her travels around the world. She carried a sketchbook with her at all times and often created art inspired by her journeys when she returned home. She first lived in San Miguel from 1958 to 1962 while earning her MFA at the Instituto Allende. Later, she lived in San Francisco, often collaborating with experimental artist and bookmaker Howard Munson at the Center for Book Arts. In 2000, Leigh returned to her beloved San Miguel for the final chapter of her life, and it was here in Mexico that she created the bookart seen in this exhibition. Leigh’s extensive art archives are stored at her home in Colonia Guadalupe, where her daughter, Gina Hyams, serves as executor of her estate

After several decades as an improvising musician, composer, and producer, DJ Barrett has evolved as a visual artist whose work reflects the intersection between improvisation and composition. Collage, assemblage, and mixed media are complimented by his affinity for vernacular materials such as cardboard, wire, wood and metal. A self-taught artist, he embraces fortunate accidents, blatant mistakes, and inept craftsmanship, and finds that iron workers in San Miguel are the best assistants when it comes to experimenting with new materials. His bold art “un-books” and installations don’t fit neatly into any context or category, making them all the more intriguing. Come join us this month, we think you'll be intrigued and inspired!

Jan 1, 2019


New exhibition by Barcelona artist Cynthia Fusillo opens Thursday, with a public reception on Sunday, January 6, from 2-5 pm.  Stop in to meet the artist and share some Rosca de Reyes after shopping the Mercado Rural at Via Organica. Big day! Start the new year with fabulous events, always waiting for you in Colonia Guadalupe!


Fusillo's statement: 

"I am intrigued by the act of creation as a human necessity and as a means of reconstructing our relationship to Nature. 
Collecting and collaging “things that I find interesting and curious” in my surroundings fascinate me. By using Nature in this process I feel more connected to the world and something larger than myself. 

My studio is a sort of Wunderkammer: A room of curiosities.

During the Renaissance curious and indefinable objects, books and drawings were collected and exhibited in a cabinet or room in a private residence.  It is said to be the beginning of the idea of a Museum. 

Women have been collaging, beading , collecting photos, scraps of clothing/textiles, and quilting for centuries. The Feminist artists Miriam Shapiro and Melissa Meyer have written that these were activities that women did in the home in search of a way to express deep emotions or even in some cases survival. I strongly adhere to this belief in my art practice. 

I marry the materials with my interest in working in a vein between artistic and artisanal – sewing, collaging, gathering, saving, collecting, recycling and patterning – emphasizing the functional as well as the aesthetic. These are all practices that are rooted in the heritage of the feminine."