Bulto (St. Ignatius) c. 1938

Curator: This watercolor rendering, made around 1938 by Carl O’Bergh, is entitled "Bulto (St. Ignatius)." Editor: My initial reaction? It's austere. Simple, almost primitive. The palette is muted, mostly earth tones. There’s a starkness in its representation, a very handmade quality. Curator: Absolutely. Bultos themselves are three-dimensional, traditionally carved wooden sculptures of saints popular in the Southwestern United States, especially among Hispanic communities. This depiction really brings forth the folksy artistic traditions within these communities. The painting serves as a material document, recording cultural practices. Editor: And it highlights how those devotional objects become imbued with cultural and political significance. The image acts as a cultural artifact. Curator: Precisely. Consider the way O’Bergh translated the sculpture, how he used watercolors to mimic the carving techniques; it displays not only representational skill, but it reveals O'Bergh’s own creative choices in representing a craft. It acknowledges the labor and tradition involved. Editor: Yes, that negotiation is key! He doesn’t just replicate it. This image, like any artistic representation, carries layers of interpretation. Whose image are we really seeing here, St. Ignatius' or the artist’s? Curator: It prompts us to contemplate authenticity and cultural exchange and reflect upon these objects’ value as artistic and religious pieces. Editor: This dialogue opens a larger door to how we represent history and religious expression through art and the politics inherent in that process. Curator: Yes, thinking of it this way moves us beyond the superficial towards the real exchange of traditions, culture and craft.