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I first Miguel Carrillo Montoya when I was a Fulbright Scholor in Mexico in 1992.  The last time I saw my friend in 2014 he gave me a bracelet beaded with images of white deer and peyote.
When I learned of his passing a few months later I made a yarn painting in his memory incorporating the beaded image of the white deer with a pose Miguel and I enjoyed in which we would put our arm around each other and say "Los Dos Touristas" 
I made a frame for the piece the same width as the bracelet and asked the artist Maria Magdelena Lopez Carrillo if she could bead my frame to mimic Miguel’s bracelet.
With the help of Benita Giranimo Mujeres Maria beaded the frame.
I had thought she would attach it to the frame with wax but her husband, the artist Santos Daniel Carrillo Jimenez 
suggested that I have the bead artist Jan Huling glue it on, I'd shown Santos and Maria Jan's work and they were very impressed and interested in the adhesive she used.
Santos thought that the glue would make the maintenance of the frame easier. I took his advice and Jan finished the frame.
Thank you Miguel, Maria, Benita, Santos and Jan.
ry drawing and the beaded bracelet that the picture and frame are based on

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Los Dos Turistas Collage

Robert Forman

United States

Collage, Fabric on Soft (Yarn, Cotton, Fabric)

Size: 30.5 W x 35.6 H x 3.8 D cm

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AED 21,451

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I first Miguel Carrillo Montoya when I was a Fulbright Scholor in Mexico in 1992. The last time I saw my friend in 2014 he gave me a bracelet beaded with images of white deer and peyote. When I learned of his passing a few months later I made a yarn painting in his memory incorporating the beaded i...

Year Created:

2014

Subject:
Mediums:

Collage, Fabric on Soft (Yarn, Cotton, Fabric)

Rarity:

One-of-a-kind Artwork

Size:

30.5 W x 35.6 H x 3.8 D cm

Ready to Hang:

Not Applicable

Frame:

Other

Authenticity:

Certificate is Included

Packaging:

Ships in a Crate

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Shipping is included in price.

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Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

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United States.

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The interface between my interior self and the outside world is the uniting concept behind my recent work I began making yarn paintings in 1969 while still in High School. I thought I had invented the technique. In college at The Cooper Union I first kept yarn painting to myself. My professors preferred my drawings to my paintings. My painting professor, Jack Whitten, asked what we did during vacation. I volunteered that I'd spent the vacation working on a project, but it wasn't exactly painting. After visiting my studio Jack told me to stick to yarn and he would consider them paintings. Seeing a yarn painting at a Greenwich Village flea market I discovered that yarn painting was a traditional art form among the Wixarika (Huichol) people of Mexico. In 1992 I received a Fulbright Fellowship to travel to Mexico to meet fellow yarn painters and talk shop. Since my Fulbright I have maintained my relationship with fellow yarn painters both by returning to Mexico regularly and by hosting Wixarika artists in my home. I have also received Artist Fellowships from the National Endowment for the Arts, The Adolph and Esther Gottlieb Foundation, The New Jersey State Council on the Arts (twice) and the Ludwig Vogelstein Foundation.

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