She is the purveyor of some of the most sought after collectible pieces of Folk Art in Mexico. Her shop, La Calaca has been featured in Architectural Digest as well as in numerous travel books. Evita is an icon in San Miguel de Allende, though she doesn’t seem to notice. What life events conspired as prologue in the Evita Avery story? When asked about her early influences and mentors, she responded:

My mother. She collected Mexican folk art and it was all over our ranch house in Coahuila, Mexico.

The ranch, six hours from any town, is where Evita was reared. Her mother also grew up on the ranch, and was educated there, by a governess.

Evita was exposed at an early age to traditional folk arts through ranching traditions where cowboys made halters, whips, etc., and through the Kickapoo indigenous group, who made beaded moccasins and other items from the pelts of deer they hunted on the ranch.

Evita’s maternal grandfather, William Bernard Finan, ran away from his Chicago home at age thirteen. He made his way to Oklahoma and was taken in by Indians who bestowed upon him the moniker “White Rope.” He later became a U.S. Marshall in Oklahoma.

“He helped make Oklahoma a state and then moved to Mexico, saying Oklahoma was getting too crowded,” Evita remarked.

Evita shared a story about her grandfather, which was told to her by her mother. When the Revolutionaries approached, he quickly grabbed his hat collection and paraded back and forth in front of a picture window, changing hats every few seconds. He hoped to make it appear that there were lots of people inside, in order to dissuade them from entering!

“They didn’t fall for it; they took the chickens, cows and horses. They were hungry.” Evita added, drolly.

When Evita reached school age, her mother moved with Evita and her siblings to Eagle Pass, Texas, for each school term. “My Mexican American teacher read Dickens’ The Tale of Two Cities to us in the fourth grade,” she recalls. Like the other ranch children, she attended boarding school once she reached the age of twelve.

After studying art history at Boston University, she moved to San Miguel de Allende, in her early twenties.

Evita met writers and painters attending the Instituto, where she studied photography. And macramé, circa 70’s. She hung out at La Cucaracha on the square, and after that enlightening time, having met all sorts of characters in her two year stint, she returned to the ranch.

Her love of teaching led Evita to study the Montessori Method, in London. She later taught Montessori in London and Mexico. Evita also traveled to Europe and Egypt, and opened a children’s book store in San Antonio.

Later, she worked at the San Antonio Museum Association in the education department where she was exposed to collections of Mexican folk art that had been donated to the museum. At same time she studied Art History at UNA. Her professor, Merle Wachter, became a mentor.

She was also active in the Mexican folk art business, taking pieces to the States.

By the time she was ready for her second act in San Miguel de Allende, she knew exactly what it was she wished to create- a venue for traditional indigenous folk artists.

She opened her shop, La Calaca, two months after her return. She is currently in her 27th year of business in the same location, Mesones 93, SMA.

Evita points out that quite a few pieces in her collections were made by the Grand Masters of Mexican folk art. The art in her shop is all referenced in books and in private collections, or they can be found in museums.

I was most intrigued by a story Evita shared about a visit to one of her favorite Mexican states, Michoacan. She travelled to a community which was established based on the principals set forth by Sir Thomas More, in Utopia.

I traveled by myself and visited a pottery village in the mountains for the celebrations of their patron saint, Cristo Rey. I spent the night in a troje with a wonderful artisan and his sister. Upon awakening, I heard Gregorian chants piped through the village while the villagers made gorgeous rugs of flowers and sawdust, in the street. This is termed ephemeral folk art. The entire experience was transcendental.

Evita’s shop resembles her true personality. It isn’t flashy but if one is paying attention it quickly becomes obvious that it is the real deal. I asked Evita about her love of research and of teaching because I recognize these as common themes woven throughout her life. “I like to share my knowledge with customers if someone is interested,” she responded.

Evita doesn’t pitch. Actually, she rarely makes light conversation. If you are fortunate enough to be in her presence and you pay close attention, you will be able to tap into Evita’s great wealth of knowledge. If you are truly interested, it will be revealed.

Designers Andrew Fisher and Jeffry Weisman featured her shop in their insider’s guide. Weisman stated, “It’s the best shop in town for Mexican antiques.”

One can always recognize Evita by her trademark huipiles.

“The ones I wear are from the Amusgo indigenous group. They are handwoven on a backstrap loom with brocaded geometric designs, generally on a plain cotton ground. They are woven in three webs and joined with cotton randas; it can take anywhere from three to twelve months to weave one, depending on the intricacy of the design. The Amusgo are considered the top weavers in Mexico. They grow brown, white and green cottons to use in their weavings.”

Each huipil signifies which village one is from, just like the Guatemalans. At one time every village or region had its own identifying earring, as well.

Now you know more about where Evita comes from, and what has transpired to make her The Real Evita Avery, who is sometimes referred to as San Miguel de Allende’s white angel!

Contact La Calaca at: 93 Mesones, 415-152-3954, www.lacalaca.com
https://www.facebook.com/lacalacasma

 
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