{"id":703,"date":"2021-03-25T22:48:33","date_gmt":"2021-03-26T03:48:33","guid":{"rendered":"https:\/\/ccincagarcilaso.gob.pe\/actividades\/solo-arboles\/"},"modified":"2021-06-01T20:42:05","modified_gmt":"2021-06-02T01:42:05","slug":"solo-arboles","status":"publish","type":"actividades","link":"https:\/\/www.ccincagarcilaso.gob.pe\/en\/activities\/solo-arboles\/","title":{"rendered":"Just trees"},"content":{"rendered":"

Gredna Landolt<\/strong><\/p>\n

Rold\u00e1n Pinedo was born in San Francisco, a community of the Shipibo people, near Pucallpa. From his shaman grandfather he inherited the same name: Shoyan Sh\u00ebca, ‘Restless Mouse’. The son of a bilingual schoolteacher and a potter, he now lives in Cantagallo, the settlement where the vast majority of Shipibos people are concentrated in Lima. He fight, along with other artists and craftsmen, to make it his own place. \u201cAc\u00e1 es diferente que en mi comunidad. En la tarde no se escucha a los pajaritos que cantan, ni en la ma\u00f1anita el ruido de los monos: shon, shon<\/em>. El ruido de ac\u00e1 son los autos, los silbatos, ya no se escuchan los r\u00edos que suenan. Esa es la diferencia m\u00e1s importante para m\u00ed y extra\u00f1o siempre. Mi mundo es all\u00e1, siempre me da esperanza recordar. Cuando dibujo me concentro y parece que estuviera en la selva, en un mundo nuestro\u201d (<\/em>“It’s different here than in my community<\/em>. <\/em>In the afternoon you do not hear the birds <\/em>singing<\/em>, nor in the morning the noise of the monkeys: shon, shon. The noise here is the cars, the whistles; you do not hear the rivers sounding anymore. That is the most important difference for me and I always miss it. My world is over there, it always gives me hope to remember. When I draw I concentrate and it seems like I am in the jungle, in our world\u201d).<\/em><\/p>\n

He arrived in the capital in 1977 with three little sacks of plant bark with which he prepared “para-para” and “siete ra\u00edces\u201d (\u201cseven roots”)<\/em> to survive. It was then that he met the historian Pablo Macera. \u201cVas a pintar puritos animales, me dijo\u201d (<\/em>You are going to paint little animals)<\/em>, he told me. Macera invited him and Bawan Jisb\u00eb – his first wife – to participate in the project Pintura y palabra (Painting and Word project) <\/em>to portray and record the fauna of their communities. They experimented with coloured earth and natural dyes, on tocuyo fabrics dyed with mahogany bark, a special clay (man\u00fa)<\/em> and sometimes with annatto and curry or curcuma. They had to go to the mouth of the Pisqui River, five days from Pucallpa, by bus and peque-peque. A dangerous adventure in those years, as it was an area with little contact with outsiders. Until then, their life had been spent between Lima and Pucallpa. The paintings were exhibited for the first time at the Museo de Arte del Centro Cultural San Marcos (1999). This show marked the beginning of several exhibitions, using the same technique, in some of which I participated as curator. In his early years, the painter concentrated on documenting not only the fauna but also the customs of the Shipibo people, dealing with themes such as healing through the ayahuasca ceremony, paiche fishing, hunting, and the gathering of taricaya eggs, framed by a landscape where each leaf of the foliage was painted with special care. Later, he began to incorporate more themes, such as visions, myths and stories, in large format fabrics. He soon managed to position himself in the art scene and was invited to exhibit his work in Europe and North America.<\/p>\n

He gradually abandons traditional materials and uses acrylic, which is more readily available and offers him greater freedom. He uses white backgrounds and his colours become vibrant. With energetic strokes and a more defined style, he draws the characters he is passionate about: shamans, mermaids, fish, birds, otorongos, caimans, boas, constellations and all that the Amazonian space holds. He opts for a composition with one or two figures in large format, which allows him greater expressive force, focusing on the essential. His intuitive handling of composition and the original recreation of his world place him in a contemporary perspective. He recently participated in Amazon\u00edas, at Matadero Madrid.<\/p>\n

In this exhibition, he explores what he knows very closely: the trees of the Amazon rainforest. He travelled from Pucallpa to Dos de Mayo, a community with a forest that the artist considers almost virgin. There, for three months, he painted 40 species of trees – a work entrusted to him by the collector Armando Andrade – 25 of which have been exhibited here. \u201cCuando hice estas pinturas sent\u00ed mucha nostalgia de las cosas que pas\u00e9 durante mi ni\u00f1ez, en mi comunidad, San Francisco de Yarinacocha. Me iba a ba\u00f1ar a la cocha y me gustaba subir a los \u00e1rboles, llegar a la rama m\u00e1s alta y saltar compitiendo con los ni\u00f1os de mi edad. Me gustaba acompa\u00f1ar a mi abuelo a pescar, rodeado de muchos \u00e1rboles, en \u00e9poca de creciente. Aprovechaba en coger los frutos del shimbillo, com\u00e9rmelos y traer un poco para mi mam\u00e1, que a ella tambi\u00e9n le gustaban. Eso qued\u00f3 grabado en mi memoria hasta el d\u00eda de hoy. Por eso, cuando pinto los \u00e1rboles lo hago sabiendo que mis pinturas tienen mucho poder y energ\u00eda de la Naturaleza. El arte para m\u00ed es una pasi\u00f3n que nace en m\u00ed en cada trabajo que realizo, y es un don que Dios me ha dado\u201d (<\/em>When I made these paintings I was very nostalgic for the things I spent during my childhood in my community<\/em>, San Francisco de Yarinacocha. <\/em>I was going to bathe in the cocha (artificial lakes) and I liked to climb trees, reach the highest branch and jump, competing with children my age. I liked to accompany my grandfather to fish, surrounded by many trees, during the crescent season. I would take the opportunity to pick the fruits of the shimbillo, eat them and bring some back for my mom, who also liked them. That was etched in my memory to this day. Therefore, when I paint trees I do it knowing that my paintings have a lot of power and energy from Nature. Art for me is a passion that is born in me in every work I do, and it is a gift that God has given me).<\/em><\/p>\n

Apacharama, mahogany, lupuna, cedar, huanganacaspi, pan de \u00e1rbol, loromicuna, catahua, shihuahuaco, huito, sapote, copaiba, ayahuma, cashimbo, capirona, quina quina, lagartocaspi, palo sangre, cetico, topa, moena, quinilla, az\u00facarhuayo and the pijuayo and ungurahui palms make up the forest of Shoyan Sh\u00ebca for this exhibition. A forest that has the power to make the noise of the city disappear for a while and takes us into its magnificent thicket.<\/p>\n

\n

Shoyan Sh\u00ebca (Rold\u00e1n Pinedo L\u00f3pez)<\/b><\/h4>\n

Comunidad Nativa San Francisco (San Francisco Native Community),<\/em> Pucallpa, Ucayali, 1968<\/p>\n

A self-taught painter, Rold\u00e1n Pinedo or Shoyan Sh\u00ebca (his Shipibo name) began in the trade, in 1997, with the historian Pablo Macera, in the project “Pintura y palabra” (Painting and word),<\/em> together with the painter Bawan Jisb\u00eb. (Elena Valera). Since then he has continued to paint themes related to the Shipibo culture, to which she belongs, managing to position herself in the local art scene.\u00a0<\/span><\/p>\n

Individual exhibitions<\/strong><\/p>\n

2020 Solo \u00e1rboles.<\/em> El Centro Cultural Inca Garcilaso, Ministry of Foreign Affairs, Lima.
\n2016 P\u00e1ro. La b\u00fasqueda del refugio<\/em> (P\u00e1ro. <\/em>The search for refuge)<\/em>. Euroidiomas Foundation, Lima
\n2013 Presente <\/em>(Present). Euroidiomas Foundation, Lima
\n2009 Sabidur\u00eda, Mirada profunda. <\/em>(Wisdom, a deep look).<\/em> Faculty of Letters of the Universidad Nacional Mayor de San Marcos, Lima.<\/p>\n

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Moena<\/div>\n
Moena<\/figure><\/a>\n
<\/div>\n
Copaiba<\/div>\n
Copaiba<\/figure><\/a>\n
<\/div>\n
Shihuahuaco<\/div>\n
Shihuahuaco<\/figure><\/a>\n
<\/div>\n
Quinilla<\/div>\n
Quinilla<\/figure><\/a>\n
<\/div>\n
Cashimbo<\/div>\n
Cashimbo<\/figure><\/a>\n
<\/div>\n
Lupuna<\/div>\n
Lupuna<\/figure><\/a>\n
<\/div>\n
Pijuayo<\/div>\n
Pijuayo<\/figure><\/a>\n
<\/div>\n
Quina<\/div>\n
Quina<\/figure><\/a>\n
<\/div>\n
Lagarto caspi<\/div>\n
Lagarto caspi<\/figure><\/a>\n
<\/div>\n
Cedro<\/div>\n
Cedro<\/figure><\/a>\n
<\/div>\n
Loromicuna<\/div>\n
Loromicuna<\/figure><\/a>\n
<\/div>\n
Aguaje<\/div>\n
Aguaje<\/figure><\/a>\n
<\/div>\n
Huangana caspi<\/div>\n
Huangana caspi<\/figure><\/a>\n
<\/div>\n
Cetico<\/div>\n
Cetico<\/figure><\/a>\n
<\/div>\n
Caoba<\/div>\n
Caoba<\/figure><\/a><\/div>\n\n<\/span>\nPrevious<\/span>\n<\/a>\n\n<\/span>\nNext<\/span>\n<\/a>\n<\/div>\n\n

Bipersonal exhibitions<\/strong><\/p>\n

2018 La Semana de la Amazon\u00eda (Amazon Week)<\/em> (promoted by the Embassy of Peru in Ireland), with Darwin Rodr\u00edguez. Irish Georgian Society, Dublin
\n2005 Es nuestra costumbre<\/em> (Amazon\u00eda al descubierto. <\/em>Due\u00f1os, costumbres y visiones)<\/em>, (It is our custom (Amazonia exposed. Owners, customs and visions)<\/em> with Bawan Jisb\u00eb (Elena Valera). Museo de Arte del Centro Cultural San Marcos, Lima (Museum of Art of the San Marcos Cultural Centre, Lima).
\n<\/em>Arte Shipibo que dibuja el infinito<\/em>, (Shipibo art that draws the infinite),<\/em> with Elena Valera. National Week of Peru, Toyokawa Municipality Gallery. Aichi, Japan
\n2000 Lo m\u00e1gico y cotidiano en el are Shipibo<\/em> (The magical and the everyday in Shipibo art),<\/em> with Elena Valera. Seminar on Andean Rural History, Central Library of the Universidad Nacional Mayor de San Marcos, Lima.
\n1999 Telas pintadas shipibas: Rold\u00e1n Pinedo y Elena Salas<\/em> (Shipibo painted textiles: Rold\u00e1n Pinedo and Elena Valera). <\/em>Hall of Popular Art, Universidad Nacional Mayor de San Marcos, Lima.<\/p>\n

He has participated in numerous collective exhibitions, including “Amazon\u00edas” (Matadero-Madrid), in several countries, such as Denmark, Ecuador, Brazil, France, United States, Ireland, Japan, among others.<\/p>\n

His work has been part of several editions of the Fair “Ruraq maki, handmade” (Museo de la Naci\u00f3n) (National Museum);<\/em> the VI and X Summer Auctions of MALI; “Arte de la selva” (\u201cArt of the Jungle\u201d)<\/em> and “Bazarte. Lima contempor\u00e1nea” (\u201cBazarte Contemporary Lima\u201d),<\/em> editions VI, VII, VIII and IX (Euroidiomas Gallery).<\/p>\n

His work is part of the permanent collection of the Banco Central de Reserva (Central Reserve Bank)<\/em> and the Ministry of Foreign Affairs of Peru.<\/p>\n

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