Attention to detail: Santa Fe's Luis Tapia recognized as National Heritage Fellow in D.C.

Luis Tapia is one with patience.

Working with an untouched piece of wood, as he carves delicately, the shape begins to reveal itself.

It’s a painstakingly detailed process.

For more than 50 years, the 73-year-old Santa Fe-based artist has worked countless hours and created thousands of wood sculptures. Over that time, he has made a name for himself in the art world.

Yet, this was never the goal.

“My idea with art was to represent myself in a different way,” Tapia says. “What I do represents my New Mexico culture.”

Tapia is one of nine artists being recognized by the National Endowment for the Arts as a 2023 National Heritage Fellow. It is the nation’s highest honor in the folk and traditional arts. He is the 17th New Mexican to receive the honor.

Tapia will participate in the ceremony at 3:30 p.m. Friday at the Library of Congress’ Thomas Jefferson Building in Washington, D.C. The ceremony also will stream online at arts.gov/heritage.

“It’s pretty overwhelming,” Tapia says of the award. “It’s not something that I ever expected. I never got into this trade to receive the awards. It’s humbling.”

For more than 40 years, the NEA has annually presented these lifetime honors in recognition of the diverse cultural traditions that comprise the nation and the individuals whose dedication and artistry contribute to their preservation and growth.

Each fellowship includes a $25,000 award.

“The 2023 National Heritage Fellows exemplify what it means to live an artful life,” Maria Rosario Jackson, NEA chair, said in a statement.

“Their rich and diverse art forms connect us to the past, strengthen our communities today, and give hope to future generations in ways that only the arts can. Our nation is strengthened through their meaningful practices, expressions, and preservation of traditional artistry.”

Tapia’s work speaks for itself while often being rooted in social commentary. He doesn’t consider himself a santero, rather opting to be referred to as a sculptor.

“I was a santero for about 15 years of the 50 I’ve been making art,” he says. “As my work started to change and as I got involved with social commentary, my definition changed. There are a lot of santeros out there, and I didn’t want them to feel like I was disrespecting them by using that term.”

Works by Tapia are in private and public collections nationwide, including the Smithsonian Institution’s American Art Museum and American History Museum; El Museo del Barrio; Museum of American Folk Art and Rockwell Museum of Western Art in New York; Denver Art Museum; Autry National Center of the American West in Los Angeles; Museum of International Folk Art in Santa Fe; and the National Hispanic Cultural Center in Albuquerque.

His “Slice of American Pie,” created in 2008, is a 1963 Cadillac that is on permanent display at the NHCC.

“Luis Tapia is so impressive. It’s been a banner year for him as he has been honored with Joan Mitchel award and now the NEA, one of the nation’s highest honors for an artist,” says Tey Marianna Nunn, former NHCC Art Museum director and chief curator, now at the Smithsonian.

“I think this may be the first time this has ever happened to the same artist. I am thrilled for him because if you think about it, those two awards cover the full spectrum of Luis’ artistic contributions. To be honored as both a contemporary artist and an artist rooted in tradition means he can do it all. Luis is unique in this — making his contributions to the art world so significant and increasingly necessary.”

Being an artist is the only thing Tapia wanted to do with his life.

Carving wood gave him an outlet to fully express himself.

“As I’ve gotten older, I’ve become more detail-oriented in my work,” he says. “The goal for me is to always be challenged and never be fully satisfied. I’ve stayed in New Mexico because I want to create culture and teach the youth to open their eyes to the culture.”

Tapia’s output has slowed down over time. Gone are the days of creating more than 100 pieces a year.

It’s common for Tapia to spend five hours a day in his studio — uninterrupted.

“I don’t have a phone or a TV in my studio,” he says. “I do have a radio, and I totally dedicate my five hours for that day. If I have an idea after five hours, I save it for the next day.”

Tapia creates no more than 10 sculptures a year. He’s created six pieces so far.

“The pieces are more complicated and thoughtful,” he says. “The detailing takes time. I work slower paying more attention to each detail. Every line and curve has to make sense. I want to continue to push myself. I think the work I’ve been putting out is much better than when I was young. I chase the challenges.”