Arriving at Togonon Gallery I find there’s an artist talk already in progress, so I drift to the back of the room to hear a few details about Viva Paredes’ prayer wheels. The cross beams are all reclaimed wood, fitted together without nails. Her mindset regarding material is deeply influenced by past experience working with recycled products. I’m dying to give the wheels a spin. I’d like to get a closer look at the frosted image of a fleeing family on the surface of the jars and the medicinal plants contained within as well, but mostly I want to spin them. Not the most spiritual response to a work inspired by an object intended to foster wisdom, mindfulness and merit.
The talk ends, everyone stands, and I inch toward the sculpture but am cut off by the attendees headed toward the food and wine table. I am eventually pressed right up against it as people crowd around the artist with further questions, so I get a good look at the contents inside, even if I can’t identify them. Why herbs? The title, I learn, is Benediction for a Wetback, which means that setting the cylinders tumbling might be a way to prompt reflection upon those who uproot their lives either to escape hardship or to support their loved ones. Considering the wheels can be spun both ways on their spindles, the imprinted image is a clever comment on the plight of the migrant family: there is always the possibility of constant movement back and forth. Following work means there may be no easy measure of “progress” in a journey. Setting the wheel spinning makes you to some degree responsible for the silhouettes’ current plight, whether rapid flight or frenzied backtracking. I decide after all that maybe I’d rather let them be for the moment. Paredes’ work has given me something to contemplate, but already it’s safe to say it has inherited a penchant for instilling mindfulness from its archetype.