When he received his initial invitation in September 2022, Ezequiel de León Cruz was filled with disbelief. He recognised the immense responsibility ahead of him but was simultaneously thrilled to be amongst those selected to participate in the Chalk Festival, the International Chalk Festival held in Sarasota, United States.
However, Hurricane Ian disrupted the plans, leading to the cancellation of the 17th edition as the city was significantly damaged in Florida.
This year, the event’s director, Denise Kowal, reached out once more to inform him that he was still on her list for the festival, which is regarded as one of the premier street art events due to bringing together esteemed pavement artists from around the globe who, over a weekend, showcase their masterpieces on Pineapple Avenue, Sarasota’s principal thoroughfare.
In this 18th edition, the Festival will unite for the first time several delegations of artists from Infiorata – the term used in Italy for flower carpets with sacred designs, an art form that originated in the Vatican – and Rangoli, a traditional form of folk artistry from India where coloured powders are skilfully arranged on the floors of homes, patios, and entrances to pay homage to deities.
Artists from over 30 different nations will project their creativity onto the streets before the eyes of the audience. Ezequiel de León Cruz will be among them, striving to set the standard “as high as possible” with his sand carpet.
He will be part of an exhibition named Floralia Infiorata, due to occur from 8 to 10 November, featuring artists from various countries who will craft carpets with flowers, sand, sawdust, and other natural materials, thus providing insight into these age-old artistic traditions.
Hailing from the La Perdoma neighbourhood, Ezequiel has been creating carpets and tapestries for 35 years, a craft he inherited from his father, sculptor and restorer Ezequiel de León Domínguez, who is esteemed as the foremost practitioner of religious sculpture in the Canary Islands during the 20th and early 21st centuries.
Ezequiel serves as a drawing and painting instructor at the Perdigón de La Orotava academy, and for the past 28 years, he has been in charge of the central carpet for the Magno Tapestry in the Plaza del Ayuntamiento, crafted from natural sands sourced from the Teide National Park to commemorate Corpus Christi. Additionally, he possesses a collection of sand paintings depicting renowned film stars, unique pieces that are part of a project that is currently “at a standstill,” though he does envision Saratosa as an excellent opportunity to bring it to fruition.
His resume validates his invitation to this festival, where he plans to execute a design that is “simple yet very intricate” as his sand technique demands several days for completion. In fact, he will commence his work ahead of the other participants since he must not only sketch but also dye between 80 and 90 kilos of white sand in various hues.
This poses his primary challenge, which is why he has been diligently practising to ensure that the 15 desired colours “closely resemble the natural soils of the Teide National Park,” he explains.
De León is accustomed to starting from scratch; however, this time, he must tailor his schedule to the festival’s timeline, and he will have two “invaluable” collaborators: his wife, Erenia, and his daughter, Alejandra.
A week ago, they confirmed the dimensions he needs to work with, approximately 4.30 metres wide by 6 metres long, equating to around 25 square metres in total. It will manifest as a sort of “mini carpet,” with a central tapestry spanning about 2.50 metres, and the rest comprised of borders to “frame the artwork.”
Ezequiel was recommended to the festival director by his friend, Eduardo Carbone, a distinguished researcher of this transient art form. Kowal expressed her desire to meet him in person, and this year, during the Corpus Christi celebrations, she and her husband visited the Villa to witness the carpet maker’s talent firsthand. “She is an exceptional woman, a lover of art, and a determined individual,” he remarks.
The theme of his carpet in Sarasota will not be strictly religious “though it can certainly be interpreted that way,” he notes. He has thoroughly considered his vision and communicated it to the director “who loved the concept,” he states. While he cannot divulge many specifics, it is certain that it will feature a face, which is a strong focal point, along with a red rose, the national flower of the United States, designated in 1986 by former President Ronald Reagan. “It evokes the beauty of the flowers, yet also their longevity,” he explains.
Those familiar with his work can attest that he will leave no one unmoved. This was evident in 2019, when he touched hearts by depicting a child in need of help, whose expression conveyed a message as powerful as the image itself. An impression that remains vivid in the memories of all those from the Villa, and undoubtedly, the piece he creates next month in the United States will reaffirm his status as one of the most esteemed artists in transient art.
