Story and photo by Melissa W. Sais

This article first appeared in New Mexico Magazine, March 2010, p. 16.

Combining devotion and skill, Nicolas Otero creates traditional New Mexican retablos inspired by centuries-old images and the millennia-old stories of Christ and of the holy people revered by Catholics as saints. Although only 28, he’s already committed 13 years to the flat wooden panels and natural pigments of the Spanish Colonial art form.

Otero is reluctant to dwell on his past success, feeling a need to stay true to the devotional and humble nature of his art, but his work is found in five museums, has been featured at gallery shows across the Southwest, and has won multiple awards – including the esteemed Archbishop’s Award – at Santa Fe’s Traditional Spanish Market. In 2007, he even painted New Mexico’s official ornament for the White House Christmas tree.

Working from his home in Los Lunas, a town of about 14,000 people 24 miles south of Albuquerque, Otero spends two to three hours each day researching, carving and preparing panels, sketching and painting. The time he devotes to his creations increases during his summer break from teaching art at Los Lunas Middle School.

In his small studio, Otero paints at a counter beside a north-facing window that runs the length of the room. Along the opposite wall, on a desk , sits his Apple Macintosh. On the short wall between is an alter displaying a Day of the Dead skull (it reminds him to celebrate life), animal carvings from a trip to the Yucatan (they encourage him to appreciate the simple things), an image of St. Michael, and white votive candle. A shrine hangs on the wall above, its contents hidden behind shutters.

Otero’s creative process often begins at the alter. “I turn on the lights, light a votive candle and get the incense going,” he says. “It reminds me of church and prayers sent to heaven. It’s important to find something that brings peace to you before you start.”

Once the work begins, Otero doesn’t rush: “When I start getting excited about how a piece is going, I stop.” He takes a break to water the garden or walk around, periodically sneaking a peak at the project to see if it’s still as good as he first thought it was.

When he returns to work, Otero saves the faces for last. “The face has to be optimal,” he says. He deliberately saves some of his creative energy for the very last touch he’ll have on the piece, all the way through the glint in the eyes.

Otero doesn’t sign the front of his work. “My first intent is, this is an image of something holy, something to be reverent about. Having that humility is part of the process.”

Another part of the process is letting go. After investing deeply in his vision and his work, Otero then sets himself the task of detaching from it, telling himself, “I’m going to make this piece and someday it’s going to go.”

Finally, Otero believes it’s important to avoid taking the work too seriously. “If you do, it will take you down a different path. The point of creativity is to take you away from anxiety.”

Light your creative fire with these tips from Nicolas Otero:

First, find peace.

Don’t rush.

Save energy for your last impact.

Be humble.

Let go.

Creativity should take you away from anxiety, not lead you to it