Canteros de Chimalhuacán, de lo artesanal a lo artístico

Jonathan Martínez “Scrap” / ©Foto: Eduardo Suárez

Para muchas personas los límites entre una pieza artística y una artesanal se explican gracias a su grado de funcionalidad; sin embargo, el arte contemporáneo no puede definirse con dicho parámetro. Lo artesanal comprende expresiones espontáneas de creatividad que se manifiesta en trabajos producidos en serie, en cambio, “arte” refiere a una obra única e irrepetible.

Esta diferenciación cultural es un proceso de identidad y aprendizaje, proceso que a los más de 450 maestros canteros de Chimalhuacán les ha llevado tiempo asimilar, pues no sabían hasta dónde podrían ser catalogados, reconocidos, como verdaderos artistas. Dicha inquietud llevó a la creación del Museo Municipal “El Canto del Cincel”, inaugurado el pasado 12 de febrero bajo la dirección de Norberto Ibarra Rodríguez.

“Todavía no me la creo que soy un artista”, expresó entre risas el cantero-escultor Hugo Nájera Buendía, a quien visitamos en su casa-taller-museo. “Yo lo heredo (el oficio) de mis abuelos y por mi papá, pero inicié desde los 18 años por necesidad ganarme la vida, y para mi fue fácil pues tenían el taller de mi familia y aprendí técnicas simples, geométricas, con la piedra vocálica local llamada ‘Recinto’, que mi padre traía de Tlapacoya, Ixtapaluca”, declaró el creador del mural de piedra “Quetzalcóatl” que adorna la pared de la galería del museo y quien el próximo mes de abril expondrá varias obras en el Salón de la Plástica Mexicana.

“Cuando comienzas a trabajar luchas mucho con el material, con las herramientas, y les agarras cierto cariño, que no piensas que estas haciendo arte o artesanía, simplemente lo haces por el gusto. Pero el paso de lo artesano a lo artístico pasa sin que uno se dé cuenta, es deseo de superación”, enfatizó el artista cuya prolífica obra —que va de la escultura a la pintura— toca temas de cocina, como el molcajete y el tepetate.

Para este maestro contar con un museo para resguardar el acervo artístico de los canteros “retoma el valor que no se le daba, (ahora) está en un lugar digno donde todo mundo puede apreciar el trabajo del cantero de Chimalhuacán, ya no con la mentalidad de artesanía, ya es un trabajo del interior y del espíritu, que logra transmitir lo que uno va realizando”, enfatizó Nájera.

“Cuando hace dos años me integré a este proyecto —declaró sentado entre canteras el maestro Jorge González Buendía— ya venía esa inquietud de trascender lo artesanal. Como artesano no vemos lo artístico, pues muchos de mis compañeros no se han adentrado en lo que tienen en sus manos, una herencia tan rica que aprendimos como una necesidad, no como algo artístico”.

La lectura hizo a este cantero, trabajador de construcción desde hace 28 años, comenzar a crear esculturas propias con temas místicos y prehispánicos. “Es benéfica la creación del museo porque se le está dando el valor a nuestra mano de obra en tan venerado oficio. Con ello van a nacer muchos artistas”, finalizó “George”, como le dicen sus amigos, fundador del grupo Lenguaje del Martillo junto con Blas González, quien expone actualmente en el Centro Cultural Mexiquense Bicentenario.

Por su parte el artista plástico autodidacta, Jonathan Martínez Aquino, alias “Scrap”, expresó que hay una evolución en los temas de las esculturas de los canteros: “Ellos sólo hacían trabajo arquitectónico y he visto su proceso de hacer artesanía a escultura, se les ha complicado porque no lo comprenden. Hace como cinco años, eran como dos los que trabajaban la escultura, pero ahora ya hay muchos, ya hay como 10 o 15 personas”, indicó el también grafitero perteneciente al colectivo Cría Cuervos, artífice del mural “La casa de la enseñanza” en la Escuela de Bellas Artes de Chimalhuacán.

RMM/ES

Entrada del Museo Municipal “El Canto del Cincel” / ©Foto: Eduardo Suárez

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