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Liz Hager, “Santa Bernadeta (de las Benditas Locuras),” 2007,
Digital MetalType with objects in handmade box
Approximately 14 x 10“

Santa Bernadeta is an imaginary saint, whose creation was inspired by the magical blend of indigenous, religious, and colonial Spanish influences that uniquely defines Latin and South American culture. 

This composite image was created from my own photographs of the diverse and fantastic pictorial elements found in Puebla, Cuernavaca, and Taxco,  a colonial heartland of Mexico. The text sprang solely from my own diabolical mind.

“Our Lady of Ocotlan,” Mexico, 19th century
(courtesy Mexican Retablos)

The work references the retablos, or retablos santos, tradition, that particular style of devotional painting, which is found throughout Latin & South America, introduced into the area through the Spanish conquest.

Originally only the wealthy could afford retablos, as they were painted on expensive substrates—canvas, wood or copper. By the early 1800s, however, cheaper tin-plated steel became widely available, and retablos provided an affordable way for the masses to possess a sacred object that would ensure health, fertility, or general good luck.

“La Mano Ponderosa/The Powerful Hand”
(courtesy Colonial Arts)

Today retablos are as much collected for their folk art properties as for their religious value. Executed largely by untrained artists, most retablos present an image of the saint or miracle accompanied by an explanatory text, which is often executed in childish scrawl. As a result, they have a naive and utterly-enchanting quality.

“Por gracias a la Virgen de San Juan. . . ” 20th century retablo
(courtesy Venetian Red)

Though she may not be an official member of the Catholic canon, I am confident that, in her own tortured way, Santa Bernadeta bestowes good luck on all who come into contact with her.

Santa Bernadeta Translation: When she was a young nun, Sister Bernadette was poor, humble and suffered from extreme emotional instability, although she had beautiful hair. Her life was a series of psychological crises. She prayed continually to Jesus, asking him to show her the way from physical pain & suffering.  One night “el Señor” appeared to her and ordered her to stop thinking of herself and help others. After this vision, Sister Bernadette founded a hospital for the insane and dedicated her life to helping many people. Unfortunately, she herself was never cured, but she was canonized in 1986, becoming St. Bernadette of the Blessedly Insane.

The World Beyond

Museum of Spanish Colonial Art
A wide variety of retablos and ex-votos at Mariposa Folk Arts

The Botanica  Series


Liz Hager, Waterlily #2, Buenos Aires,” 2006
Digital Metaltype, 12 x 12 inches.
(©Liz Hager, 2006)

Botanica celebrates the diversity and ingenuity of plant life, specifically in terms of circulatory, tissue, and reproductive systems. Trained as a painter, I found I was drawn to color, texture and form. For the “Big Flower” (right) and “Big Leaf” images, I purposely embraced the manipulative features of the digital medium, in order to push photographic images into the realm of the painterly.  There are 12 prints in the series. Each was a limited edition of 10.


Liz Hager, “Fig Leaves, Marrakech,” 2006
Digital Metaltype, 12 x 12 inches.
(©Liz Hager)

I completed the Botanica series in the fall of 2006, after half of year of experimentation with direct printing onto various metal surfaces, including copper, brass, nickel and tin. The metal ultimately chosen for each print was dictated by the image.


Liz Hager, “Waterlily #1, Buenos Aires,” 2006
Digital Metaltype, 12 x 12 inches.
(©Liz Hager)

In large measure Botanica was influenced by the earliest form of successful photographic images, Daguerretypes. These metal-based photographs were first introduced to the world in 1839 by Louis Daguerre (1787–1851), who perfected a process whereby images were fixed on copper plates. A plate was prepared with an iodine solution to form a light-sensitive “emulsion.” After exposing the plate to light and heating over mercury, the plate (with its image) was fixed in a solution of common salt and rinsed in distilled water.


Liz Hager, “Peonies, Madrid,“2006
Digital Metaltype, 12 x 12 inches
(©Liz Hager)

I also coated the metal substrates with a wet “emulsion,” although my materials weren’t as toxic as Daguerre’s. After the emulsion dried, I ran the metal plates through my Epson printer and “fixed” them with a UV varnish. I coined the term Digital Metaltypes as a unique descriptor of the process.

Gallery
All prints 2006, 12 x 12 inches, Digital Metaltypes, © Liz Hager