Race/Related: How this artist became obsessed with papel picado

For such a delicate product, making intricately cut, colorful tissue-paper banners is remarkably loud. [View in browser](~/AAAAAQA~/RgRn-6dJP4Q8AWh0dHBzOi8vbWVzc2FnaW5nLWN1c3RvbS1uZXdzbGV0dGVycy5ueXRpbWVzLmNvbS9keW5hbWljL3JlbmRlcj9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDI0MDQxMiZpbnN0YW5jZV9pZD0xMTk5NDgmaXNWaWV3SW5Ccm93c2VyPXRydWUmbmw9cmFjZSUyRnJlbGF0ZWQmcGFpZF9yZWdpPTAmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTE2MzI3OSZ0ZT0xJnVyaT1ueXQlM0ElMkYlMkZuZXdzbGV0dGVyJTJGOGQ0MjU0ZGUtZWM4My01YjFlLTgxMWQtZDdiNzUyYjc2Y2VlJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZhBJIhlmWQNPIVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAD)|[nytimes.com](~/AAAAAQA~/RgRn-6dJP0SyaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjQwNDEyJmluc3RhbmNlX2lkPTExOTk0OCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTYzMjc5JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpmEEkiGWZZA08hUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAM~)[Continue reading the main story](#) [Ad](~/AAAAAQA~/RgRn-6dJP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTgwJmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDI0MDQxMiZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjQwNDEyVwNueXRCCmYQSSIZZlkDTyFSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAw~~) [Race/Related](~/AAAAAQA~/RgRn-6dJP0TAaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vc3BvdGxpZ2h0L3JhY2U_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyNDA0MTImaW5zdGFuY2VfaWQ9MTE5OTQ4Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xNjMyNzkmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmYQSSIZZlkDTyFSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAw~~) April 12, 2024 [Blanka Amezkua sitting in a wood chair. She has short, wavy gray hair and wears a black long-sleeve shirt with silver buttons, black pants, orange glasses and large round silver earrings.] Blanka Amezkua at her home in the South Bronx. Justin J Wee for The New York Times Art that symbolizes the ephemerality of life By Rose Corteau On a summer day in 2018, Blanka Amezkua arrived in San Salvador Huixcolotla. The southeastern Mexican town is best known as the birthplace of papel picado — intricately cut, colorful tissue-paper banners popular at Mexican festivities — and Amezkua had come hoping to learn the centuries-old techniques for crafting it. She flagged down a cab and asked the driver if he happened to know anyone who made the delicate paper flags. The man took her to his brother Don Rene Mendoza, who, by sheer chance, was a master of the trade. After speaking with Amezkua for more than five hours, Mendoza agreed to pass the craft tradition on to her. Papel picado (“punched paper” in Spanish) has its roots in pre-Columbian times, when the Indigenous Nahuatl people of Mexico made [amate paper](~/AAAAAQA~/RgRn-6dJP0TTaHR0cHM6Ly93d3cubWV4aWNhbm11c2V1bS5vcmcvYW1hdGVzLWNvcnRlemEtZGUtaWRlbnRpZGFkP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjQwNDEyJmluc3RhbmNlX2lkPTExOTk0OCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTYzMjc5JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpmEEkiGWZZA08hUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAM~) from the bark of mulberry and fig trees, said Marcelo Alejandro Ramirez Garcia-Rojas, the curator of the International Museum of Art and Science in McAllen, Texas. Beginning in the 1500s, he said, “Spanish missionaries became deeply familiar with pre-Columbian traditions in an effort to combat them and convert local populations,” and practices such as amate production were discouraged or even banned. The Spanish also began importing papel china — thin, tissue-like paper from China, often used to wrap other goods. This confluence led to the creation of the papel picado used today to decorate a variety of celebrations in Mexican culture, most notably Day of the Dead, when it is placed around altars of deceased loved ones. The movement of the paper is said to signal the presence of the dead, and the delicate material symbolizes the ephemerality of life. [Amezkua glues a white papel picado flag to a string strung across her living room. More colorful banners hang from the string.] The papel picado’s delicate material symbolizes the ephemerality of life. Justin J Wee for The New York Times Day of the Dead “is my favorite holiday,” said Amezkua, 53. Born in Mexico, she migrated to California with her parents when she was 5 and then returned to Mexico at age 10, spending much of her adolescence living with her grandparents and many aunts in Cuernavaca, a city about a four-hour drive west of San Salvador Huixcolotla. (Her parents remained in California, where they worked on cotton farms.) On Saturdays, Amezkua would evade chores by accompanying her grandfather to the local market. While he bought food for the week, Amezkua would peruse the labyrinth of vendors selling fruits, textiles or used jars. Amezkua went on to study painting at California State University, Fresno, but she credits the market with teaching her “all the lessons of installation art.” Holiday decorations and seasonal produce meant “the way the market gets dressed” changed dramatically over the course of a year, and many of the items sold were previously owned. Amezkua’s fascination with repurposed materials is reflected across her multidisciplinary work, which ranges from [embroidered tortilla towels](~/AAAAAQA~/RgRn-6dJP0TAaHR0cHM6Ly93d3cuYmxhbmthYW1lemt1YS5jb20vd3RlLmh0bWw_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyNDA0MTImaW5zdGFuY2VfaWQ9MTE5OTQ4Jm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xNjMyNzkmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmYQSSIZZlkDTyFSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAw~~) to performance art. Amezkua started incorporating papel picado into her work in 2017 after she and her husband moved to the South Bronx from his native Greece, where they had resided for many years. Amezkua spent her first years back in the United States working on “[Happiness Is …](~/AAAAAQA~/RgRn-6dJP0TpaHR0cHM6Ly93d3cuYnJvbnhhcnRzLm9yZy9wcm9ncmFtcy9yZXNvdXJjZS9hcnRpc3QtcmVnaXN0cnkvQmxhbmthLUFtZXprdWEuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDI0MDQxMiZpbnN0YW5jZV9pZD0xMTk5NDgmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTE2MzI3OSZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZhBJIhlmWQNPIVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAD),” a 72-square-foot collage of confetti, streamers and the ubiquitous Mexican banners from her childhood. She was drawn in particular to the flags’ exuberant shades. “I often feel like the expression of color by native communities from any part of the world is a form of resistance,” she said. The project began an obsession with papel picado. Photographs and Video by Justin J Wee. 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