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Latin America

Abel Rodríguez
Terraza Alta V

Abel Rodríguez’s precise botanical illustrations, such as Terraza Alta V, are drawn from memory and knowledge acquired through oral traditions; they are the visions of someone who sees the potential of plants as food, material for dwellings and clothing, and for use in sacred rites. Often, his “botanical plates” include written information like the color and taste of the bark, the season in which it blooms, where it grows and at what time of the year, both in his native Muinane language and in Spanish. For example, the drawing Ciclo anual del bosque de la vega (Seasonal changes in the flooded rainforest) is a calendar tracking the changing appearance and life of the inundated forest. And the work Árbol de la vida y de la abundancia (Tree of life and abundance) tells the story of the creation of the jungle and the origin of the world. Untrained in illustration or writing, Rodríguez began drawing the forest from memory. From giant trees to small rodents, his vividly detailed illustrations are deeply time-specific. At a glance, many of his pencil and ink landscapes appear to be the same. But after extended observation one notices that every element, from leaf shapes to animal locations to flowers, change in accordance with the month and season the artist is depicting. For Rodríguez, an internationally recognized plant expert, these drawings are a means of recovering and sharing his knowledge of plants of the Amazon gained through teachings from his grandfather, a healer, and nearly seventy years of observation.

Abel Rodríguez, or “Guihu” as he was originally known, was born in Nonuya in 1941, in the headwaters of the Cahuinarí River in the Colombian Amazon and raised by the Muinane. His uncle, a "sabedor" (man of knowledge), taught him about the local flora. In the 1990s, Guihu (who by then had adopted the Western name Abel Rodríguez) and his family fled their native territory and moved to Bogota? to escape violence in the jungle, settling in one of the Colombian capital’s poverty-ridden and peripheral neighborhoods. Despite this upheaval, Rodríguez found a way to preserve his family legacy and the ancestral knowledge of the medicinal plants and ecological systems of the Amazon basin through drawing. He became the official guide for botany researchers in the Colombian Amazon and was awarded multiple scholarships to document his plant knowledge. Unable to use oral transmission, which is used in the traditional setting, Rodríguez started drawing trees from memory to provide reference material for education and promote dialogue across the indigenous and scientific communities. As such, his practice represents the survival of Indigenous peoples, knowledge, and cultures. His works are also valued for their artistic qualities, the unique cosmovision they transmit, and for their convergence of Indigenous politics and art world discourses. Rodríguez’s drawings provide an alternative viewpoint to Western ideologies of nature as represented in the history of art, illustrating what a relationship with nature might look like if thought about as a partner.