If history were taught in the form of stories, it would never be forgotten.
Assigned by the San Antonio River Foundation with the creation of a major work of public art to celebrate the community surrounding Mission San Francisco de la Espada and its strong connections to San Antonio’s ranching heritage, Margarita Cabrera envisioned a tree of life. A tree of life overflowing with fruit. “Arbol de la Vida: Voces de Tierra.”
The origin of colorful trees of life is rooted in Colonial Mexico. Missionaries worked with craftsmen in the Puebla region of Mexico to create clay sculptures to relay biblical stories, often branching upward and outward from Adam and Eve at the base.
Building on that tradition of rendering stories in clay, Cabrera has collaborated with more than 600 members of the community since May to capture their narrative memories. Workshops were held to help even novices record these chapters of San Antonio’s shared history in slab and coil based clay sculptures. The finishing touches on the final fruits of this labor of love involving so many are being completed in a studio at Mercury Project.
While many of the 700 pieces already have been fired, these photos are of works in progress. After firing, Cabrera says, each piece will be filled with epoxy so that, even if a piece is damaged, the sculpture will remain intact. The average weight of each of the suspended “fruits” will be in the neighborhood of 200 pounds. Serving as a portal linking the Mission Reach of the San Antonio River to Mission Espada, this tree will be immense.
Merrie Gutierrez and Margarita Cabrera
early rendering of Arbol de la Vida
Merri Gutierrez working on the plumed hat of Rosa Maria Hinojosa de Balli
Frates Seeligson’s burr oak acorn
Clicquot Club Beverages once distributed out of current home of the Mercury Project
Merri Gutierrez, Margarita Cabrera and Thelma Ortiz Muraida working on her grandparents’ truck
Warren Borror’s bicycle chainring/bottlecap
May Day 1893 bicycle parade in Irish Flats with Warren Borror’s great grandfather on far right
An ostrich-plumed hat perched atop the head of “la patrona” made Rosa Maria Hinojosa de Balli (1752-1803) easy to spot on early Texas cattle drives, according to Merri Gutierrez, one of her descendants. Gutierrez chose to depict the signature hat to represent the story of the daughter of two Spanish aristocrats who was born in Tamaulipas, Mexico. Known as the first cattle queen of Texas, Hinojosa de Balli amassed more than one-million acres of land stretching across five Texas counties. She built chapels at all of her ranches for the ranchhands and served as godmother to more than 300 of their children.
Thelma Ortiz Muraida is crafting a truck to signify the lifestyle of her father, a migrant worker born in Floresville. An artist who has illustrated numerous children’s books, Muraida is enjoying working with the clay. Her father loved to create folk art from found objects, and her great-aunt worked with her husband alongside Dionicio Rodriguez, known for his landmark faux bois cement sculptures. The truck pays tribute to those who work with their hands and their appreciation of and respect for the land. She is filling her truck with family members and the things they would pack up to create a sense of home as they roamed to harvest crops in other parts of the country – birds, chickens, the pet dog and the guitar her grandmother played.
The meaningful ornaments for Cabrera’s tree are taking shape within the walls of Mercury Project, a network of artists’ studios founded in 2012 by artists and designers Antonia Richardson and Warren Borror in a renovated factory on Roosevelt Avenue. When Borror’s mother first saw the structure, she said, “I know this building.” From 1945 to 1955, the building was the San Antonio home of Clicquot Club Beverages, distinguished by its Eskimo Boy logo. The owner was popular for giving neighborhood kids free ginger ales and root beers, and church socials often were held upstairs. Borror chose that part of Mercury Project’s past to highlight for his contribution to the tree, a Clicquot bottle cap.
But the scallops of the edge of the bottle cap reminded the fifth-generation San Antonian of another part of both the city’s and his family’s past. The flip side of the cap will represent the cranks for a bicycle chain. His family has a photo of his great-grandfather in San Antonio’s first bicycle parade in 1893, and one of his great grandfather’s sons operated Ullrich’s bicycle shop where La Frite is today. While relating some of the city’s early bicycle history, Borror also is celebrating San Antonio’s increasing transition into a bike-friendly city.
So, staring up at 700 individual clay sculptures, how will anyone glean the stories behind them? There will be an app for that, says Cabrera. After firing, each piece will be photographed on all sides and will be accompanied by narrative from the community storytellers.
While shading people below, this tree will be an incredible place to play “I Spy.” The bountiful tree of life will stimulate viewers’ memories, encouraging multi-generational sharing, reviving San Antonio’s rich oral tradition often drowned out by contemporary media.
Harvesting the tales hanging above will take multiple visits to the story-telling tree. I sure hope this magical tree comes with a couple of rocking chairs below for grandparents to hold their grandchildren in their laps while telling them about life when they were young.
February 23, 2019, Update: Tales told through clay are bursting into bloom as the “Arbol” nears completion.