Category Archives: Folk Art

The Muñeco: A Small Figure That Holds So Much

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While researching a new series of altar-based assemblages for the Taos exhibit that will be inspired by the ritual codex of Sr. Alfonso García Téllez, I rediscovered a word I hadn’t thought about in years: muñeco. (“moo-NYEH-koh”)

You may not have heard this term before in this context. In Spanish, muñeco means “little doll” or “figure,” but in the sacred art of Alfonso Téllez—an Otomí shaman from San Pablito, Mexico—a muñeco is something much more than a toy. It is a spirit vessel, a symbolic stand-in used in healing rituals, offerings, and prayers.

Cut from handmade amate bark paper in simple, symmetrical forms, these figures carry what is too heavy, too complex, or too mysterious to name directly.

That idea stopped me in my tracks — a symbol? An archetype? A vessel for complex emotions?

In Téllez’s codices, a cut paper bird figure, for instance, might represent loss, freedom, rebirth, or all of those at once. The figure is a kind of visual shorthand—a handmade icon that expresses the inexpressible.

These are not just decorative elements; they are tools of ceremony and emotion, used in acts of release, remembrance, and reverence.

And that’s when I realized — we could all use a muñeco.

What if you cut a shape from paper—just a silhouette—and let it hold something for you? A grief. A prayer. A question. A transition.

You could glue it into a collage, tuck it into a pocket, burn it, bury it, or simply keep it near. Not to solve the feeling. But to give it form. To acknowledge it. To begin to let it move.

This idea became the seed for a new oracle card in my Enso deck—The Muñeco. It reminds us that the most powerful symbols don’t have to be complex or literal. They just have to be true.

Sometimes, the smallest figure holds the most.

The Muñeco

Keywords: Spirit Vessel · Proxy · Release · Ancestral Simplicity

Interpretation:

The Muñeco is a doll-like figure cut from bark or paper—simple, symmetrical, and quiet. But don’t mistake its humility for weakness. It is a sacred stand-in, a vessel for what you cannot carry, what you cannot say. In ritual, the muñeco holds illness, sorrow, memory, or prayer. In your life, it may be asking: What weight are you ready to release? What part of you longs to be witnessed and let go?

This card honors the ancient truth that the most powerful symbols are not always grand—they are small, handmade, passed down, and alive with meaning. The Muñeco reminds you that fragility and faith can live in the same shape. Cut your prayer from paper. Name your burden. Then offer it forward, and let it be carried.

Reversed:

Reversed, The Muñeco suggests confusion between what is yours and what you’ve placed onto others—or what others have placed on you. Are you unconsciously projecting, assigning roles, or expecting others to carry what is yours to hold? Or are you refusing to let something go, keeping it folded tightly within yourself? The spirit figure has become tangled. This card invites you to separate, to clarify, and to release with compassion.

Reflection Questions:

  • What object or act could serve as a release today?
  • Have I mistaken simplicity for lack of meaning—or overlooked the quiet things that hold the most?
  • Who or what have I turned into a proxy for my own unspoken needs?

Closing Insight:

The Muñeco holds space for what cannot speak. In letting it carry your burden, you remember that even the smallest gesture can be an act of ceremony.

(Above) Autograph manuscript concerning Otomí indigenous curandero customs and folk medicine in Mexico. The text describes shamanic rituals for various maladies (enfermedades) with mounted cut-out paper figures (mun̋ecos)representing spirit entities drawn from both indigenous and Christian mythos. Illustrated with amate bark paper cut-outs, dated approximately 1978

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A Small Practice

If this idea speaks to you, try this:

Sit quietly with a small square of folded paper. You don’t need a plan—just rest your hands, take a breath, and begin to cut. Let your thoughts wander toward something you’d like to let go of… or something you wish to remember.

When you’re ready, unfold the paper.

See what’s there. A figure, a shape, a whisper of a form.

You’ve made your own muñeco.

Now pause. Ask yourself: What do I want to do with this little symbol?

Will you keep it tucked into a journal? Burn it in ceremony? Bury it, give it away, or place it on your studio worktable or tape it in your window?

Deciding what to do with the cut shape is part of the ritual.

It’s a way of giving form to something too vast for words—and choosing how to honor it or say goodbye to it.

And speaking of saying goodbye, I’m headed to Ireland this week to teach a workshop at the Mulranny Arts Centre—an inspiring place where dreams and landscapes overlap. I’ll be offline for a little while, but I’ll return soon with stories, images, and new ideas to share.

In the meantime, why not cut a paper shape, a muñeco —not to finish something, but to begin. Let it be a placeholder for your thoughts, your plans, your hopes. Let it hold what you’re not ready to name just yet.

Be safe.
Do good work.
And let the small things carry meaning!

Thanks, as always, for reading SHARDS.

♥Lyn

my muñeco for the journey – it holds so much and lets go of so much

Provenance

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I’ve been negligent about posting to SHARDS for several reasons. I wanted to change the look of the blog, and work on some website redesign as well.  So I’ve been busy, yes, but that’s no excuse.

Have you ever felt that the longer you go without doing something you should do, the harder it gets to do it? My brothers and I are of the generation that got swats on the bottom from our dad when we were little and did something REALLY bad. Daddy would let us choose the time for our swat, but would tell us that “the longer you wait, the harder it gets.” Sigh. The anticipation was worse than the swat, of course. Sometimes you just have to get it done and move on 🙂

But I digress – today I want to discuss “provenance,” a word that refers to the historical origin of a piece of art, or really any object. As an assemblage artist, provenance is hugely important to me. I believe that an object’s history can be sensed in some weird way, kind of like a shard of clay gives a clue to its history.

I’ve been working lately on a series of wrapped and bundles figures inspired by the Peruvian Chancay Burial dolls. Here’s the Chancay doll on the right and my interpretation is on the left.

Part of my process involves selecting specially-curated objects to wrap into the form. Here is another example:

Below are several little objects I want to wrap into the next figure – two seed pods and a feather.

No one who sees the finished doll will know about the provenance of these objects – they could be just some stuff I picked up anyplace. But the seed pods came from my Pride of Barbados tree which seemed completely dead after the snow disaster this year, but manages to come back gloriously despite the trauma. The feather came from the construction yard at SAY Si where they are building a wonderful new place to share art with the youth in San Antonio who really need it. So all three of these objects have a special “provenance,” a story of rebuilding and renewal.

As I said, no one but me knows about the provenance of these objects, but somehow they carry an aura of their story with them, and that infuses the finished piece with a sense of inexpiable mystery and meaning. You can do this with objects, with paper, with fiber.

When you have a choice in your own work of using something that has a special provenance even though it may not look quite as bright and shiny as something you bought at a craft store, consider the source, and go with what your heart says.

If you look up “provenance” as it relates to collecting art, you’ll find that it refers to the trail of ownership of an art object, or the history that got it from there to here. But every object has a history and a story based on where it is found. As an artist, you can incorporate those stories to give richness to your work.

 

 

 

 

 

 

 

Wendy’s Nature Spirits

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A weather note : I started this post on Monday morning. The post (and normal life) has been interrupted by two days of power outages and snow here in South Texas, and there may be more to come! Yikes!

So, before the power goes out again, I want to warm your heart (and mine) by telling you about Wendy Larsen of Nevada.

Normally, I’m shy about writing my buyers to ask how they are using the faces the purchase from my Etsy shop, Earthshards, but Wendy had ordered quite a few of the Celtic Forge faces and I was curious. I emailed her, and she graciously told me about her Nature Spirits.

Celtic Forge faces from my Etsy Shop, Earthshards

Wendy wrote:

“I use all natural materials, and your faces are beautiful addition to my art. I was going to create my own Etsy shop one but the works weigh a lot as I use petrified wood and agate rose quartz . So that makes them quite heavy to ship, but I do have some in a crystal shop in Lehi Utah that carries my art, and I’ve done quite well there over the past few months. I’m currently doing a few commissioned pieces.

It started when I was at a cactus nursery and saw some Choya wood and decided to use it to create a beautiful piece of art. Little did I know they would be such a success! They are inspired by nature. Everything used on them is natural except for what I used to keep them in place. They they all have an energy that lives within each piece. I use a lot of raw crystals, pine cones, living moss, and natural stones as well as the Choya wood and your beautiful clay faces. I’m typically inspired to do a piece by what the face tells me.

Here is a picture of the first piece I ever did — and it’s history from there – LOL.”

Wendy’s Nature Spirits are packed with intricate detail and precious objects – tiny silver lizards, clusters of crystal. Here are some others. You can see the care and love that she adds to each one.

Thanks so much, Wendy, for sharing your wonderful Nature Spirits with us!

Before I close (and before the power goes off again!), I want to remind you that the Early Bird pricing for Painting with Fire is still open if you want to explore a year of Encaustic techniques and processes by 26 teachers (including me!) for less than $10 a workshop — pretty cool. Or hot.

Click here to visit Essence of Mulranny .

Please stay safe and warm – and take good care,

Lyn

A cat gallery and a surprise workshop

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(The Surprise Workshop is at the bottom of this post – but first, check out the cats)

 

What is it about cats? One of my online workshops is called “The Mystical Cat Shaman,” and the photos I’m getting from students of their magical critters are just brilliant. I thought you’d like to see a few of them.

This one is by JoliBlanch, who writes, “I wanted to do a 2020 healing shaman. So in that spirit, since cats and birds don’t usually socialize,  the birds are there symbolic of The wish for unity among all peoples. The heart is the love energy needed, the blue crystal is healing energy, and the gold bead represents the God energy. The milagros on either side represent the magic we all need now. So – angel wings, dragons, unicorn and faerie energy.”

Next, we have two Cat Shamans by Barbara Linderman. She says, “I took your online Cat Shaman class this summer.  Attached are pics of my two creations.  It had been a while since I had done any kind of mixed media work and your class has inspired me to do more.”

Meet “The Collector” and “The Fortune Teller.”

Finally, here are some figures that go in their own fabulous direction by doll-maker Kathryn Hall. She notes. “I really enjoyed your video class Lyn, so thought I’d show you my take on it.  I made two cats and two crows.  I make my own faces from polymer clay.” 

Look at these faces! And the bodies!

All of these pieces are so creative. When I teach a workshop, i hope for exactly this – original artwork inspired by my lessons but not copied from my work! Yay!

I’m so grateful to all the makers in the Cat Circle – I’ll share more soon. The workshop is still available if you are ready to make you own Cat (or crow – or dog?) Shaman. Just click here to checkout the free preview lessons.

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And now — the SURPRISE WORKSHOP!!!

In one of our first collaborations, Michelle Belto and I did a class called Mask, Robe, and Rune.

Michelle just made this workshop available on her Teachable site. It’s a wonderful project that combines faces, waxed collage papers, free-standing sculptures, and spooky runes and writings. Because it’s been previous published, you can sign up for just $29 for the entire course with both of us team teaching.

Here’s an example of the Mask, Robe and Rune mixed-media assemblage – you will learn to make those great papers to use as the “robes” on the figures – and much more. Thanks, Michelle!! Here’s that link.

Remember what our ancestors told us –“Idle hands are the devil’s workshop.” You don’t want any devils in your workshop. Check out the Cat Shaman and Mask, Robe and Rune and keep your hands out of trouble!

 

 

Serapes, Sunsets – and Schenck

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In a earlier SHARDS post I introduced one of my new summer online workshops for Artful Gathering ( an art “camp” for artists, teachers and students) called Southwestern Stripes: Serapes and Sunsets.

In the workshop, I teach the AG students how to use classic stripes and geometrics inspired by Navajo weavings and Pendleton blankets as inspiration in their paintings and mixed-media art.

This is a 90 second outtake showing one of the things we talk about in the four-hour class. (If you can’t see the video screen, click the “Outtake 2” link)

Outtake 2 – Southwest Stripes for Artful Gathering from Lyn Belisle on Vimeo.

As usual, the students are exceeding my expectations. The class still has almost three weeks to go, and they are already producing some impressive work.

Here are three pieces by workshop participant Christine Luchini showing several ways she uses these techniques:

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Lee Ann Lilly did these three, including the collage spirit doll and two beautiful small card paintings:

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Here are three more student works, two by Ronda Miller and one by Paulanne Sorenson:

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Just day before yesterday, Ronda wrote in our discussion forum, “I live in the Phoenix area so I see A LOT of serape art and Native American art. My awareness has been lifted to new heights since I have taken this workshop…kind of like you buy a blue VW because you didn’t see many of them – until AFTER you buy one, then, WHAM, they are everywhere! haha.” Ronda also said “I am an abstract artist so I want to find a way to add a tad bit of serape design to my art and still have people know it is still my work.” 

Boy, is that true about seeing serape patterns everywhere – I am paying a lot more attention to serape designs since I started teaching this class. Wouldn’t you know it, the new Warhol/Schenck Exhibit at the Briscoe Museum here in San Antonio has a ton of them!

I was there last week, and fell in love with Billy Schenck’s use of serape patterns:

Bill Schenck

Bill Schenck, 2014

Bill Schenck, oil on canvas

Here’s the info about the exhibit if you’re in San Antonio and want to see this and some fine Warhol prints as well.

And to add more stripes to the serape story, I just found this beautiful book for $1.00 at the Central Library BookCellar used book store.

Here’s a selection from the book’s introduction that talks about the Spirit Line in weaving – I love it! It goes right along with, “I meant to do that!”

If you want even more Southwestern inspiration, My second Artful Gathering class, Neo-Santos: Creating Personal Spirit Guardians, opens on July 16th.

What was that old commercial about “Yikes! Stripes!”? – there is, and always will be, something fascinating about woven striped serapes and the Southwest.

Happy summer, happy 4th!

They found their wings. . .

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. . . and, boy, did they soar! The women in yesterday’s class surpassed every expectation I had for our NeoSanto workshop, creating beautiful symbol-filled personal icons on canvas. And, as Robin said during our critique, “This is much more than just a canvas.”

I showed you the construction process in my last post, but what the students brought to it was the intangible sense of self. The idea of the NeoSanto is to interpret the traditional “santo” figure from the Southwest into a personal guardian. What resulted was one of the most meaningful art-making sessions and discussions that I can remember. I was honored to be there!

Take a look at their work in the video, below.

This may be the subject of the next workshop eBook! Many thanks to DeeDee, Pam, Robin, Marilyn and Lily for the amazing workshop synergy and generosity of spirit.

Up next – on to Artful Gathering! Meet me there in our virtual classroom – registration is open.

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Thank you, Brother Cletus

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cletus

Saying goodbye to this San Antonio icon and artist is so hard. Brother Cletus died yesterday. Cletus Behlmann, S.M., a Marianist Brother, taught for 19 years before arriving in San Antonio to become a full time artist. He settled in San Antonio in 1977 and began operating the St. Mary’s University Art Center.

He captured the heart of the city in his painting and in his personal life with his affable, self-effacing wit and generous spirit. Those of us who were lucky enough to know him were blessed, but his work speaks to everybody through joyous color and dancing line.

Thank you, Brother Cletus, for sharing your life and art with us – we will miss you so much, but we know where you live. 🙂

 

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Home as Collage

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Casa Belisle

Casa Belisle

Knock knock. Who’s there. Oh, it’s YOU!

C’mon in! I was just rearranging stuff in the chaotic collage that’s the house I live in. Calling all of this a “collection” dignifies it with more organization than it deserves. But I do like to find little objects that enhance the art from friends which graces my home. As artists (and really, we all are) we notice and respond to our surroundings. I love the concept of home as collage – ever-changing and shifting, always a new composition to inspire us..

Recently I brought home a beautiful armoire that had been at the Studio. It belonged to my stepmother, and I cherish it, but the construction on the wall next door (right behind it) made me nervous. I found a perfect place for it here at home, and that inspired me to mix up other things, old stuff new configuration.

Since you’re here, look around at some of my motley assortment. I love folk art, friends art, funky art. It’s definitely not about price tags, but it is about curated choices. (If you can’t see the photos, click on the title of this post).

Some of my tips on arranging small collages throughout your environment are based on the AB3s of Composition that I developed and teach;

  • A=Alignment – have objects face each other within a group. For example if you have a wall-hanging with a crescent moon on it that you’re hanging next to a portrait, have the crescent and the face looking at each other. Makes sense? Then add a smaller object underneath that faces out.
  • B=Breathing Room – yeah, I know. When you look at my stuff, there’s not much of that. But there are spaces between groupings so that you concentrate on one group at a time. And there are lots of clear, uncluttered surfaces. You can put up as much stuff as you want, but keep some breathing room, however small, between groups of stuff. Mirrors help, because they provide an illusion of depth and space.
  • #3s = Three and Thirds – Groups of threes are so wonderful – if you add a fourth object, it ceases to be a group and looks like four separate things next to each other. But three object create a dialog. Try it. Here’s a link to a post that expands that idea.

I just got a fantastic book called STYLED by Emily Henderson that has a ton of examples on how to build groupings in your “home collage.”  It’s a treat to look at the photos. Not everything is going to be your style, but I did enjoy the book. It’s a guide to another kind of collage – the kind we live in. Happy weekend rearranging stuff!

HandEye: the mother lode of inspirational eye-candy

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handeye

Wow. Just wow. I can’t believe I’ve lived this long without knowing about HAND/EYE online magazine (it comes in a print edition, too).  I’ve just created an account (free) and am browsing through gallery after gallery of textiles, artifacts, fine crafts, indigenous processes, and so much more.

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Maria Constanza Cardenas – Plumage choker, Orinoco collection. This piece portrays the power of the colors, textures, shapes and movement of the tropics.

The online site is divided into sections and the emphasis is on celebrating cultural creativity and sustainability.

HAND/EYE also features events such as England’s Woolfest as well as unusual products from small commercial designers such as 502 Home’s huipil-inspired ceramics.

A personal favorite is an article written by India Flint in 2010 called  Desert Country: Contemporary Aboriginal Artists Take on the Land.

One of the most wonderful features of the HAND/EYE site is the treasure-trove of archived articles and galleries like that one written by India Flint with beautiful photographs – and they are organized beautifully to allow maximum accessibility.

From the article Desert Country in HandEye Magazine, 2010

They also have a Facebook page if you just want a sneak preview!

I commend this publication for its vision. HAND/EYE Magazine bridges the worlds of art, design, craft, philanthropy, retailing, and socio-environmental sustainability.

That’s my Show and Tell for the week!

Don’t forget that there will be an in-person Show and Tell at the Studio this Saturday from 2-4. I just cleaned up my fiber art room and it looks great, so show up and don’t make me do this clean-up for nothin’ – :). Check it out (below) – it may be the last time you ever see it this organized.

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Easy all-purpose gift tags for you

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Like a lot of families, mine is quite – er, eclectic when it comes to ritual and celebration. We are a motley crew of every spiritual persuasion (or none), so I try to design gift tags and cards for us that reflect that diversity through symbolic neutrality. These little milagro heart tags fit the bill – folk arty but not specifically religious. If you want to use them, too, here’s a link to a sheet of eight tags that you can print out on card stock, fold, cut apart, trim the corners, and punch.

I used some parchment-colored card stock, but you could use any tag-weight paper that will go through your inkjet printer. The punched out gold circle adds a glitzy, industrial touch. Email me if you have any questions, but these tags are sooooo easy to put together. Quick, too!