The Tree of Life, Indeed!

July 23, 2015

An artist puts the finishing touches on a small tree of life.

The Tree of Life is a very popular design. Our artists make them in astonishingly different and creative ways and our customers buy them in all their iterations with great enthusiasm. To both groups, they are representative of a number of things; the beauty of nature, the interconnectedness of living beings, and life-giving abundance. Yet there is tremendous irony about trees in Haiti. There really aren’t very many of them left.

Much has been written about deforestation in Haiti. The facts as they are presented in such online sources as Eden Projects and Triple Pundit are indeed pretty grim: Haiti has become 98% deforested and what little remains is disappearing at a rate of 30% per year. Contributing hugely to this deforestation rate is the practice of using nearly every bit of available wood for fuel. In a country with no natural gas or petroleum resources, wood is the logical choice for all cooking and heating in a poor nation whose population can afford little else. It’s a devilish problem.

Eden Projects is a charitable organization that seeks to alleviate poverty by employing locals in countries such as Nepal, Madagascar, and Haiti to plant trees. Reforestation efforts aim to reduce soil and waterway degradation, which are the first steps in boosting the land’s productivity and revitalizing the agricultural sector of the economy. It is a single, two-pronged solution to pressing economic and environmental emergencies .

One of the trees that Haitians have been hired to plant throughout the country is a variety of mesquite. Known as “bayawonn” in Haitian creole, the scraggly-looking tree is already yielding some encouraging results. Bayawonn is a particularly hardy species of mesquite that is able to withstand rough terrain, poor soil, and periods of high heat and low rainfall. Additionally, it is fast-growing – an important characteristic in establishing a tree canopy under which other plants may grow and flourish. They are particularly adept at nitrogen transfer, which it accomplishes by absorption from the air and sending it to its roots. The nitrogen is then released into the soil, thereby enriching it for other nearby plants. And there’s more! Bayawonn pods can be used as a food source for livestock while the beans can be ground into flour and made into a hearty, healthful bread. Truly, there is much to be sung in praise of the bayawonn planting program in both short-term benefits and sustainability.

In a sense, then, the Tree of Life may have a specific form. Despite all of it’s renditions conceived by artists and executed with great flourishes and embellishments, the Tree of Life in Haiti may, in actual fact be the scruffy, humble bayawonnn.

Created by Linda for It’s Cactus

A Poet’s Vision of Croix-des-Bouquets

July 16, 2015

While doing some research online, I stumbled across a poem entitled “Ode to Croix-des-Bouquets” on a website coincidentally called, “Beyond Borders.” This is not the wholesale Haitian metal art company owned by Janet and Joel Ross, but a charitable organization in Washington, D.C. that is working in Haiti to end child slavery. (They are beyondborders.net, while Janet and Joel are beyondbordersfairtrade.com) The author of the poem, Marcus Ellsworth of Chattanooga, TN, visited Haiti as part of an artist’s pilgrimage a couple of years ago. While in Haiti, the group ventured out to Croix-des-Bouquet and Ellsworth was moved to jot down his impressions in verse. So instead of writing my usual blog, I thought sharing his poem with you would be a pleasant change of pace. His evocative words quickly bring me back to Haiti in my mind….

“Ode to Croix-des-Bouquets”  By Marcus Ellsworth

There are secrets one can only reveal
with a hammer, a chisel, and skill.

Kneeling at the edge of the steel sheet,
like a fisherman in his boat
on deep still waters
breaking the surface
to catch the truth of the heart
and bring it up into the sun.

Hammers pounding as thunder
Chisels falling as rain
Hands summoning patient storms
that awaken life
from the quiet metal

Angels come to dance
Flowers bloom immortal
Spirits gather
to laugh, and rage, and teach,
and be made solid for our eyes and hands

Such is the gift of steel and those who mold it like clay
Listen to the sounds of Croix Des Bouquets
This is the sound of dreamers bending the world to their will.

Contributed by Linda for It’s Cactus

Haitian Metal Can Be A Perfect “Fit”

July 9, 2015

A primitive sculpture, such as this “Tree of Hope” by Jean Carlo Brutus is a surprisingly versatile decorative piece.

Not infrequently, I have heard comments from customers to the effect that, while they like the concept of recycled metal art, and they like that it is completely handcrafted, and that they appreciate the culture from which it originates, they are concerned that it won’t “fit” into their decorative style. I get that. Not all art that I admire “fits” in my home either. But my response, though it may sound like a blatant sales pitch, comes from a true heart: “There are so many styles and themes within this art form, I bet you can find something that fits perfectly.”

Shall we assume that Haitian metal works well in a “Caribbean” style, since that’s where it comes from? And shall we also assume “Folk Art Funk” and “Ecletic” are fairly obvious “fits” as well? In a recent blog post “Create Your Own Peacock Room,” I talked about how peacocks were used as a decorative motif for a room filled to the brim with Chinese antiques and suggested that our exquisitely detailed Haitian metal peacocks could assume a role within Asian style . Maybe a little unexpectedly, but surprise, surprise – it works! Okay, so there’s four. What else? Shall we go with another style that’s not exactly obvious?  How about “American Traditional”?

Haitian metal can be a beautiful “fit” in an American Traditional decorative style.

Many of our sculptures are done with primative lines, not unlike those you might associate with quilt patterns, needlepoint canvases, and Shaker furniture. So yes, they are works of Haitian origin, but their inherent simplicity is well-suited to the “American Traditional” style. So, for example, consider this piece above (REC132 Tree of Hope) The sculpture is nicely executed, possessing fine detail without being ornate. The birds in the tree are universal design elements, easily translatable.

Now consider this same sculpture in an American Traditional setting. (See photo, right) The sculpture is complimentary to the total look, in sync with the spindle rocker, the cross-stitched sampler, the stacked books, the Amish print, and the black and white family photo. The colors are subtle, the sizes are proportionate, the design elements are cohesive, the theme works, and the folk art aspect they share bind them together as a grouping.

How about that! Shall we go for five decorative styles? Six? (I think we can!)

Contributed by Linda for It’s Cactus

Going Big

July 2, 2015

A Haitian version of Lady Godiva created by John Sylvestre using and entire 55-gallon barrel.

When I am in Haiti looking at sculptures, I have to admit that sometimes, I get overwhelmed. There are so many, everywhere! Each workshop has them on the walls both inside and out, there are sculptures stacked on tables, on the floor, in the rafters – virtually every available space is fair game for display or storage. At the end of the day, it is a bit like not seeing the forest for all of those trees.

And yet, even at the end of the day, sometimes the scope and mastery of a piece will jump out and grab me. The forest becomes visible again. It happened to me most notably in the workshop of John Sylvestre, one of the first artists with whom we collaborated and, indeed, one of the proverbial “Old Masters.”

John, now in his late fifties, learned from Janvier Louisjuste, who learned from the orignal metal art master, Georges Liataud. Starting as a laborer at the age of twelve, John was a quick study. He soon headed his own atelier and began forming his own style, with a body of work that is tender, sensual and otherworldly. The piece that stopped me in my tracks was a tropical version of Lady Godiva. (above) The execution of detail was superb, but the design element that got me and held me fast was its size. The whole barrel had been used in its creation.

There is something to the old adage that “bigger is better.” To use a movie analogy, “Avatar” is entertaining on a 46″ diagonal flat-screen, but in the theater, it’s AMAZING. It needs to be big. It’s richness is fully realized only when it is projected on a grand scale.

So it is with Haitian metal art. Some design images are sweet and cute and need to be expressed as a suggestion or a hint, rather than a statement. Others crave to be boldly expressed or they lose their intrinsic intensity and their power is lost. An entire barrel, when completely utilized, gives the artist a “canvas” that is 34″ x 72″. A hummingbird that size would be weird and ridiculous and possibly scary, for whatever fineness there may be in texture and line. But Lady Godiva, champion of the poor, executed in near life-size is stunning. Her pride and her elegant bearing are fully communicated. Similarly, the Angel Couple on our website seem as divine, projecting the grandeur and infinity of Heaven. With them in large scale, you are drawn there too. A slice of Heaven is yours.

How great is that?

Contributed by Linda for it’s Cactus