The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The sculptor Francisco Zúñiga is going through a time of transition in the arts, when the old artists are confronted with young sculptors who are in search of quick success for their works. Taking the opposite view, he admires the long time it took sculptors who were carvers during the 1920s, as well as pre-Hispanic sculptors, to achieve the mission of their work. Those marvelous artists knew how to extract and contemplate the materials from which their work emerged: materials such as crystal, obsidian, jade, carneol, opaque stone or transparent stone, penetrated by the light which it, in turn, incorporates.
Francisco Zúñiga, a well-known sculptor born in Costa Rica, studied at the La Escuela de Bellas Artes in Costa Rica and was trained in the workshop of his father, who was a sculptor of religious images. Arriving in Mexico in 1936, he entered into the Mexican scene when he began to focus on popular art figures. Zúñiga brought the figures to life by sculpting them in stone, executing bronze and stone sculptures, both large and small. After he went blind, he kept on creating sculptures. Admiration for sculptors who know their materials and work them with their hands, eager to encounter the qualities of each material, is the gist of this article. In conclusion, Zúñiga voices his objection to sculptors who are merely waiting for the success of their works, rather than being involved in the creation process with the materials.