Heading west out of Mexico City, some 8 1/2 hours by train, 3 hours by bus, and another 45 minutes by local transport, you will arrive deep within the Mexican state of Michoacan at a village called Ocumicho. This small village (about 300 families) is built on a series of dusty dirt roads that sharply move up and down and squeeze in tightly between rows of small adobe houses. The mountains in the near distance provide a scenic backdrop for a village that is slow-paced and quiet, except for the occasional grinding sound of a farm truck filled with workers, animals or goods, bouncing across the rough terrain. After strolling through the streets of the village, making conversation with the locals and enjoying the relaxed pace of their daily activities, one is certain to notice the quick attention given to the questions concerning the location of the small group of potters (approximately 60-70 families) who make the celebrated clay work referred to only as the "Figuras Fantasticas" (Fantastic Figures) of Ocumicho.

These ceramic pieces, all handbuilt out of terra cotta clay from the nearby village of San Jose, are once fired in small, round wood burning kilns and finished by painting with water-based paints and then varnished. The unique qualities in these pieces, aside from their extravagant use of bright colors, are the rather surrealistic scenes depicted in much of the work.

There appear to be three general categories of scenes produced in this tiny village, which is one of the only places in Mexico where they are made. The first is the manger/shrine type which usually has some religious reference, be it baptism, crucifixion, gathering of saints, or even a last supper in which all the disciples are sitting around a table, each holding a slice of watermelon, or even bananas (all brightly colored). These are often sold during the Christmas or Easter season and have a holy reference, even though there appears to be an interesting blend of Christianity and paganism playfully intermixed within so much of the work. (This blend of Christian and pagan elements being woven together is quite common in Central America.)

Another variation in the type of scene produced by this small group of potters is that of animals. These are perhaps the most original, as they were some of the first created, going back several generations. In the beginning they were made in molds and then brightly colored with paints; however, through the years the potters have turned entirely to hand-forming the pieces as well as developing other subject matters. These animals - cows, donkeys, pigs, and other more surrealistic creatures - are all made to be in a variety of positions and scenes, many of which double as flutes and whistles. These, too, are playful in their positions and certainly function nicely as a child's toy. It is with these animals that the tradition of claywork began in Ocumicho years ago and eventually became the work that is known throughout Mexico today.

Lastly, the third, and perhaps the most interesting work done by these are the surrealistic devil figures (complete with fangs, horns, tails, etc.). These devils, which are often symbolic of Judas, were the first made over 25 years ago and have become increasingly popular. The devils are found in a variety of comic situations, from driving VW's and motorcycles while wearing backpacks and goggles, to sitting in rows on benches while being taught to read and write. Other situations where one might find a group of these mischievous, yet funny, characters, is hanging onto the rear of a Coca-Cola truck (complete with bottles and logo), with their eyes wide open and devilish smirks that suggest they are up to no good. These surrealistic devil scenes are regularly sought after by collectors. The increase in production of these scenes is a direct result of the demand the tourists and collectors are now making for them, thus accounting for their all-year-round popularity. Although the devils started out as being symbolic of Judas and were originally used as minor characters with the animal figures (i.e. devils riding on the backs of large pigs), you will now find them in many different situations, most of which have little or no meaning for their makers. They now claim that the devils sell well and are what the tourists want. Despite this apparent lack of meaning and departure from any real sense of symbolism, the pieces are indeed a pleasure to have and enjoy.

The figures themselves are usually made by the mothers and daughters of the village, most having learned the trade from a handed-down tradition going back several generations. It is quite common for them to have the work area in the living space of the house. Within this rather confined workspace, it is not uncommon to find a shrine of holy pictures complete with flowers and religious statues, along with other household items. An additional space for sleeping might be found in a loft above, which is often accessible only by a ladder. It is in this small space that much of the painting of the work takes place. There are often large outdoor areas separating one small structure from another which serve as a small courtyard and workspace when the weather is satisfactory.

All in all, living and working is integrated into one total environment and is oftentimes shared by not just the immediate family, but neighbors as well. One might find as many as two or three daughters, some even nursing infants of their own while they work, painting and varnishing figures for long hours, seven days a week. The mother will most likely be the main producer, with the daughters assisting with the production of the pieces. While it is not common for the husbands to produce pieces, they are nonetheless instrumental in getting the clay and gathering wood for the kilns as well as assisting with the selling of work.

Over the past several years, and despite their increased popularity, the Fantastic Figures of Ocumicho have sometimes been difficult to find. This may be a result of the village being in a remote area making it difficult for tourists and collectors to locate the work. Therefore, the families often travel to markets in Morelia, the capital of Michoacan and its largest city, where buyers from Mexico City come to purchase goods.

Another way of selling is during the many festivals which are so common throughout Mexico. The most important festival time for these potters is during the famous celebration of the Night of the Dead (Noche de Muertos). This fiesta, which takes place on November 1st, is traditionally celebrated on the island of Janitzio (within Lake Patzcuaro) as well as the town of Tzintzuntzan. The nearby city of Patzcuaro (pop. 40,000) becomes the center for tourists who have come from around the world. There is candy in the shape of skulls on every corner and music filtering through the small cobblestone streets, as well as many traditional crafts being sold. The lively carnival atmosphere lends itself nicely to the colorful and bizarre scenes made by the potters of Ocumicho, which are now spread out on the ground everywhere in and around the town square. It is during this celebration that the potters can sell their work firsthand. While the tools are simple (brushes made of human hair, as well as sticks and gourds for shaping), their products have a unique quality and charm all their own. The work is alive and playful, with bright colors that vibrate against a landscape that is dominated by the hues of terra cotta, brown and gold - with fields of grass and dry corn. They are truly fantastic figures and are certain to be around long into the future for the enjoyment and admiration of all.

Joe Molinaro
1990