My informal papier-mâché apprenticeship in the 1980s was with several street and professional stage theater groups across the Americas, especially In the Heart of the Beast Puppet and Mask Theatre of Minneapolis and Teatro Libre of Leon, Guanajuato, Mexico. They, in turn, were strongly influenced by the legacy of the 1960s phenomenon, Bread and Puppet Theater, whose director, Peter Schumann staged infamous antiwar demonstrations in New York City using “cheap art” techniques.
The folk art nature of it is more universally accessible. The process encourages (gives heart to) a community of participants, rather than merely entertaining lone spectators in a television culture. People show up to help construct, perform and interact with my designs. I believe this is the essence of political art activism—both making art/theater from natural or recycled (green) materials/found objects and inspiring each other to form opinions and speak out. We all should use creativity and imagination for enriching our inner and outer life.
At the 2007 Burning Man Festival
The festival theme was "The Green Man." Mary made two Green Man puppets, which enlivened the Playa with their dancing.
I sculpt my puppet faces and hands in free slag clay discarded by potters. These forms are cocooned with several layers of overlapping torn paper, usually newsprint and grocery bags, which are slathered with warm, homemade cornstarch paste. When dry, the lightweight and durable copies lift off the earthen molds like metamorphosed butterflies. Rigged with bamboo and wood scraps, festooned with leftover house paint and costumed in donated surplus fabric rags, the homespun carnivalesque effigies are hoisted airborne. They emote very tangibly dignified and spiritual presences personifying ancestors, archetypes and elements, dancing with vicarious manipulations of those who step inside to animate them in parades and festivals. These entities voice our protest of atrocious governmental decisions or simply promote joy, peace and justice.
Humble but stunning masks and props consist of mostly, well, garbage. My own best teachers were from developing countries where art is resurrected from the junk affluent nations throw away. I believe now that what we Americans trash most is the power of our own creativity and ties to community.
Mary and her puppets appeared in May 2008 with The Heart of the Beast Puppet and Mask Theatre at a May Day Celebration in Minneapolis, Minnesota. Above; children carry "future beans/beings" in the parade. Above right, a group of mourners grieve for the harm that humans do to one another, particularly in war.
At right; Mary and these kids made a really big eagle puppet for the Artmoves Parade!
DR. MARY PLASTER'S BIOGRAPHY IN HER OWN WORDS
Mary Plaster, MA, DMin, is a multi-media artist, facilitator, and presenter, residing with her family since 2000 on Spirit Mountain, which overlooks scenic Duluth, Minnesota on the shores of Great Lake Superior. She has been creating and teaching across various genres and venues of studio and theater art for 30 years, earning degrees, grants, and world travel experiences on this path. Mary practices traditional religious iconography and has created a compelling contemporary image called, Sophia, Divine Wisdom. In contrast, her knowledge of cheap art magic was initially gleaned years ago living south of the border, working with creative recycling, papier-mâché experts of central Mexico. She has traveled and admired inventive folk art and myths of the Americas, India and France. Mary recently acquired a Doctorate in Ministry from Wisdom University in San Francisco, researching her dissertation on giant street puppets and masks in ritual and celebration.
With her Spirit Mountain Dancing Icons, Mary has focused on the organic nature of larger-than-life paper entities, which call for inventive re-use of discarded materials, as well as a group process that encourages (gives heart to) collectives of actively engaged participants. In seasonal rituals, parades and celebrations Mary volunteers the possibility of “stepping into” the role of a famous ancestor peacemaker or a personified energy for social justice. Her series features: Mohandas Gandhi, Martin Luther King, Jr., Rosa Parks, and more abstract archetypes of the Elements, Green Man, Gaia, and the Black Madonna.
Mary is currently designing gods and creatures for the University of Minnesota’s musical theater spring 2011 production of The Odyssey. She recently completed original masks for the Minnesota Ballet’s Carnival of the Animals and the Duluth Playhouse and Scottish Rite Clinic Stage Play theater program for children with autism spectrum disorder. Mary and her moving 3D creations have toured to several interfaith conferences across the Midwest and California Bay Area, and to the 2007 Burning Man Project in Nevada’s Black Rock Desert. She was staff artist for HOBT’s 2008 MayDay Parade in Minneapolis brainstorming, “A New Bridge, Infrastructure for Future Beings,” and she annually co-creates for the St. Paul Ordway Center’s ARTmoves Parade with inner city youth.
Mary received a 2008 McKnight/ARAC (Arrowhead Regional Arts Council) Individual Career Development Grant to attend the July apprentice program with Peter Schumann’s 47-year-old Bread and Puppet Theater in Glover, Vermont. Immediately upon her return from the “Northeast Kingdom,” she was a guest curator for the Duluth Art Institute (DAI), organizing an exhibit, Effigies of Peace and Protest: The Art of Social Activism, featuring four decades of selected historically significant street theater art. This 2008 pre-election show displayed Bread and Puppet Theater, the 37-year-old In the Heart of the Beast Puppet and Mask Theatre (HoBT) of Minneapolis and local works. The art show inspired All Souls Night (Dia de los Muertos) now annual events in downtown Duluth, which received an art project grant from McKnight/ARAC under her artistic direction.
Mary’s work is available for sale and she can be easily contacted for custom ideas.