ScrutinareDecember 14, 1970Sheet: 27 1/8 x 21 1/8 " (68.9 x 53.7 cm)Pencil and ballpoint pen on paperboardGift of Jacqueline Loewe Fowler2018.19.101567566956Consuelo (Chelo) González AmézcuaDrawingsCopyright for this work is under review. lower right: 'ScRuTinNARe'
lower right: '12–14-70'
verso upper left: 'Scrutinare in Filigree Art Original of Chelo González Amezcua / 806 Griner St. / Del Rio Texas 12–14–70'lower right: 'Original of Chelo / gonzalez Amezcua / 806 griner st. / Del Rio Texas / FiLigree ArT.'Del RioDel RioUnited StatesTexasWorks on PaperAdam ReichDel RioObject information is a work in progress and
may be updated with new research. Records are reviewed and revised, and the
American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.orgreviewed for the IMLS Neurodiversity Project by Art Bridges Fellow Austin Losada 2026.In addition to creating drawings, Consuelo (Chelo) González Amézcua made stone carvings and held poetry readings that included dancing and singing. Born in Mexico, she and her family moved northwest across the border to Del Rio, Texas, when she was ten years old. Her enthusiasm for mythology, music, and art was nurtured by her schoolteacher parents, who were also talented musicians and storytellers. Her condensed and fluid ballpoint pen drawings, which she called filigranas, evoke Mexican filigree jewelry and its arabesque patterns. This style also recalls the technique of paperolles (quilling)—crowning achievements of patience created by nuns in monastic communities and used in modest churches to imitate the gold and silver watermarks of smiths. Chelo embraced an almost mediumistic process she described as “mental recordatorio,” or memory drawing, and did not make any preliminary sketches. After outlining the primary figures, she embellished her drawings with patterns often derived from pre-Hispanic architecture, Mexican embroidery, and Islamic, Egyptian, and classical motifs.19701970 2018 19 1 Object information is a work in progress and
may be updated with new research. Records are reviewed and revised, and the
American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.orgreviewed for the IMLS Neurodiversity Project by Art Bridges Fellow Austin Losada 2026.In addition to creating drawings, Consuelo (Chelo) González Amézcua made stone carvings and held poetry readings that included dancing and singing. Born in Mexico, she and her family moved northwest across the border to Del Rio, Texas, when she was ten years old. Her enthusiasm for mythology, music, and art was nurtured by her schoolteacher parents, who were also talented musicians and storytellers. Her condensed and fluid ballpoint pen drawings, which she called filigranas, evoke Mexican filigree jewelry and its arabesque patterns. This style also recalls the technique of paperolles (quilling)—crowning achievements of patience created by nuns in monastic communities and used in modest churches to imitate the gold and silver watermarks of smiths. Chelo embraced an almost mediumistic process she described as “mental recordatorio,” or memory drawing, and did not make any preliminary sketches. After outlining the primary figures, she embellished her drawings with patterns often derived from pre-Hispanic architecture, Mexican embroidery, and Islamic, Egyptian, and classical motifs.