JOSÉ BEDIA 139 T. A. M.: What sort of criteria do you apply when selecting an object to keep? And what are you proudest of? J. B.: The considerations I use when deciding to acquire an object vary, but it generally starts with recognizing an aesthetic “tune” between the object and my own artistic interests. There should be a communion between these simple yet rich artistic forms and my own work as a painter. This is most evident with the infl uence on my work of Native American ledger drawings. Most of the objects I seek out are simple in their formal execution yet also infi nitely full of minutia and narrative content. This may seem like a contradiction, but certain indigenous cultures have mastered this concept and execution. I do not search for extremely old or exclusive masterpieces. Instead, I like to form groups of “regular” quality artifacts that show a commonality with one another or a shared formal and stylistic intent. I have formed groups of objects that are similar in form and also groups that represent geographic regions. There are notable groups within my collection that I am proudest of, such as masks from northern Mexico, Plains Indian ledger drawings, peyote boxes, dolls from southern Angola, and masks from Central Africa. Above: An assemblage of delicate Amazonian Indian material mainly from Brazil. Right: A mixed Native American display with ledger drawings, basketry trays, a Yacqui mask, and a rare Ojibwa pictographic panel. Photos: José Bedia Jr.
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