10 Q’s to Carol Rodríguez
by Alba Menéndez Pereda
Carol Rodríguez is an archaeologist and professional illustrator from Peru who communicates her interest for ancient Peruvian art through the illustrations she makes and shares on social media. Carol is currently a regular contributor for Convergence for which she has branched out beyond the art of Peru to create amazing illustrations. We recently had a written interview with her during which we talked about her career trajectory, the importance of science communication, and the current situation of archaeology.
Convergence: When and why did you decide to become a professional illustrator?
Carol Rodríguez: My professional illustration journey began in 2019, however, my passion for art and archeology goes further in time. Before I became a professional illustrator, I was working in an art museum in Peru. Being a daily witness to the art of the prehispanic cultures of my country was enriching and reminded me of the years when I was studying archeology at the university. As an assistant curator, I had the opportunity to educate about ancient art through exhibitions and publications, however, I felt that it was necessary to move this topic outside of the museum space to reach new audiences. Making use of my drawing skills, I began to make illustrations of Peruvian archaeological pieces which I now share on Instagram.
C: You self identify as an archaeologist and illustrator. Do you conceived your two professional activities connected to one another or would you be able to pursue one without the other?
CR: I believe that each activity strengthens the other. A few years ago, when I was fully dedicated to archaeology, I wouldn’t imagine that the field of illustration could be an avenue to share my passion for prehispanic cultures. Now that my job is a combination of the two, the linkage has become inseparable.
C: How would you define your artistic style?
CR: My style is simple, without complications. I have received comments from people who label it as minimalist, cartoonish, or flat; I think it’s a combination of all that. When I draw, I try to synthesize the forms, create defined lines, and take advantage of color since my main interest is to highlight the archaeological piece.
C: How do you choose the pieces you draw? Which criteria do you apply?
CR: When it comes to creating illustrations for Instagram, I follow my own customized process. I find inspiration in pieces housed in museum collections in Peru and around the world, depicted in academic publications, and showcased in social media accounts related to archeology, cultural heritage and museums. If I like something, I draw it. It’s like building my own “illustrated” museum with the best ancient Peruvian art has to offer.
C: How is illustration valuable for archaeology?
CR: llustration is one of the recording methods in the field of archeology. To draw archaeological finds is something that is commonly done as part of this profession. The earliest archaeological illustrations in Peru were those commissioned by Baltazar Martínez de Compañón and published in the 18th century book Trujillo del Perú. At the time, without photography and knowing that textual descriptions have limits, drawing seems to have been the best solution to documentation. To illustrate in this context is to show the past without obstacles. Images communicate without the need of a shared language, they can be understood by various audiences, and they are graphic information that can be assimilated with the naked eye.
I believe there are three main problems within Andean archaeology in Peru but perhaps also applicable to archaeology all over the world: the gender gap, the prevalence of a colonial narrative, and the lack of science communication.
C: You have worked for museums like MALI (Lima Art Museum), for NGOs like the World Monuments Fund, and for the Peruvian Ministry of Culture. What are the main differences you have observed in these fields?
CR: I think the biggest difference between these fields is the target audience. As an archaeologist for the Ministry of Culture of Peru (2015) I carried out excavations in an archaeological site as part of a research project. Our findings led to excavation reports and scholarly articles that, at that time, had no greater circulation than within our professional environment. At MALI, a year later, I engaged with a non-specialized audience for which I had to transform entirely my academic discourse. As an assistant curator, I collaborated in the creation of experiences that had the museum and its collections at the center. In 2019, together with other professionals, we took the museum experience to a space for social use in the south of Lima. With the creation of a visitor interpretive center, we managed to integrate Cerro de Oro, a Peruvian prehispanic city, with the contemporary community that lives at the foot of the archaeological site. Each experience has been enriching. The professional path is always progressive and you learn a little from each opportunity.
C: Which kind of projects do you enjoy the most?
CR: I particularly enjoy participating in projects focused on the dissemination of Andean archaeology among children and teenagers; I believe that my style is well suited for them. I have been fortunate enough to collaborate in research projects creating activity notebooks and comics which are fully based in scholarship. Through illustrations I transform this academic information into knowledge accessible for all.
C: Which project has posed to you the biggest challenge so far?
CR: Probably the most challenging project so far has been the creation of the graphic identity for the Cerro de Oro archaeological site’s visitor interpretive center in 2019. Although we were two people responsible for this task, our job was a great exercise of imagination. The goal was to create visual resources for a visitor center which did not exist at the time, to which we could only dedicate three months of work and for which we had a very limited budget. In addition, we had the responsibility of generating multi-purpose graphic content that could be used for academic publications and for the general public. and with which the contemporary community could identify. Thanks to the efforts of all the collaborators, we were ultimately able to create a space integrated in the life of the residents of Cerro de Oro that persists and which can be accessed free of charge
C: Of all the illustrations you have created, which one is your favourite?
CR: I don’t think I have a favorite illustration, but I particularly enjoy the paintings I have created based on felines woven into ancient textiles. Despite the creation process being more complex in these cases than with digital illustrations, creating them makes me feel close to the artists of the past. While they used natural fibers, looms and weaving implements to create large textiles, I use paper, brushes and paint to recreate their art. I always save the original paintings I make and the references I use for a future exhibition.
C: Finally, what are the most urgent issues do you currently perceive in the world of Andean archaeology?
CR: I believe there are three main problems within Andean archaeology in Peru but perhaps also applicable to archaeology all over the world: the gender gap, the prevalence of a colonial narrative, and the lack of science communication. Developing these topics in this interview isn’t possible since I’m not an expert in any of them. However, I’m aware that to solve them it’s necessary to educate yourself, have conservations with specialists, and act. Although the transformation to a more egalitarian, decolonial, and inclusive archaeology will be a gradual process, it’s necessary to start implementing sustainable changes that last through time. My work on social media is in part a response to these issues. My goal is to engage the Peruvian society with their cultural heritage through ancient art using non-conventional media. I hope to meet this goal in the long term.
More Information
Images:
- Contorsionista de Puémape. Ceramic, Cupinisnique style, Perú, 1500-500 BC. Museo de Arte de Lima © Carol Rodríguez
- Female-figure rattle Classic Veracruz, Mexico, 200-600 CE National Museum of the American Indian 23/9576 Illustration by Carol Rodríguez for Convergence © Carol Rodríguez
- Lúcuma with monkey, Ceramic, Chimú-Inca style, Perú, 1100-1532AD. Gran Museo Cálidda. © Carol Rodríguez
- Carol in the process of illustrating a Chimu feline inspired in the design of an ancient textile now belonging to a private collection. © Carol Rodríguez
- Musician with a wind instrument. Ceramic, San Juanito style, Jalisco, Mexico, 300 B.C.E. – 600 C.E. Museo Amparo. Drawn by Carol for Convergence © Carol Rodríguez
- Illustration by Carol Rodríguez for Convergence. Rattle with designs of a raven and a woman, Haida, British Columbia, Canada (inferred), 1850-1880, National Museum of the American Indian 15/6845 © Carol Rodríguez
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