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Floral Recycled Metal Candle Holder in Blue from Peru, 'Highland Flower in Blue'

Product ID: U52189

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Floral Recycled Metal Candle Holder in Blue from Peru, 'Highland Flower in Blue'

This item is available for pre-order and will ship within 3 to 6 weeks. Learn More

Available in 3 to 6 weeks. Learn More

Details

Light up your life with this colorful candleholder by Teofilo Araujo. Crafted from recycled metal, it features hand-painted details.

Made in Peru

  • Recycled metal
  • Candle(s) not included
  • Hand-crafted item -- color, size and/or motif may vary slightly
  • For use with a utility or taper candle (2 cm diameter)
  • Never leave a burning candle unattended
  • Promotes recycling and reduces waste
  • Keep away from children and pets
  • Free Gift Wrap? Yes
  • Premium Gift Wrap? Yes
  • 95 grams
  • 0.2 lbs
  • 18 cm H x 7 cm W x 6 cm D
  • 7" H x 2.8" W x 2.4" D
View in metric units View in US/English units

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Araujo Family

Meet the Artist

Artfully crafted by Araujo Family from Andes.

 

Meet the Artist

Araujo Family

Araujo Family

"My hope is that this art will continue over time, and that all of my sons, daughters, nieces, nephews… will expand this local art… and ensure that new generations can learn."

"Metalwork art is my passion — it is my life. All my life, I've practiced this beautiful art. For this reason, I... consider myself one of the greatest promoters of artistic metalwork, as well as one of the last people to work in polychrome.

"I'm Teofilo Araujo Choque. I was born in 1941 in Vilcanchos, located in Ayacucho. I lived in the country with my parents, who worked as farmers and kept livestock.

"I became interested in metalwork at the young age of 12, when an accident crippled me. I fell into a pit and a sharp object cut my knee. In those days, there were no clinics in my community, and they could only heal me with herbs. I could no longer bend my knee, and my right knee has remained immobilized for my whole life. My family and I lived in the country. But with my injured knee, I couldn't walk.

"Back then, broken tools and utensils were repaired, not thrown away like they are today. So any jar, pot, milk can, or pitcher that broke could be repaired. Merchants and tradesmen would go from house to house, repairing things. During one of these visits, I observed how they fixed things. I was curious and wanted to do this, because my injured leg kept me from working in the fields or herding livestock.

"One day, my uncle Tomas Choque brought me to his house to take care of it. It happened that he had also learned to repair things by observing these workmen from out of town.

"When he needed something, my uncle would go to the city of Huamanga to get pliers, scissors, and other things that he used to repair porcelain, tin, and zinc alloys. I found it fascinating and asked him to teach me. I asked him to bring me the basic tools, even though I didn't know what they were. This is how I began doing the same work my uncle did. I mimicked him when he sealed the bases of porcelain jugs, and I learned how to mend holes in ceramic jars and pots.

"One day, the chapel authorities came to request a cross. They told me, 'Young man, you are an amateur and there are no metal workshops here. Can you make us a cross to put in the church?' I accepted, and I did the work without even knowing how to weld. It was crafted completely by hand, and I made it with recycled tin alcohol containers. The authorities were happy with the cross, and this is how I became excited about this art.

"My uncle was the person who first taught me, and then I continued learning on the job when I moved to Huamanga, because it was there that I could find all my materials and tools. Huamanga gave me the opportunity to perform a service for the community, and I felt good when my clients were happy and thanked me for the crosses that I made. I loved it even more when my neighbors began making requests for crosses to put in their own homes.

"I had to be patient, curious, observant, tenacious, and persistent in everything I did. I always thought that, if I could make any piece or design, I would not be limited by my disability. I was helped greatly by talking with others, and also by training sessions, forums, congresses, fairs, and interacting with people.

"When I made the decision to do this work on my own, I determined I would succeed, no matter the cost. So I persevered under any condition. When I started my workshop in 1974, all of my tools were stolen, leaving me with nothing. Later, in 1983, I was robbed again! I experienced two robberies, but I made it through, thanks to the advice of good people who have crossed my path.

"I remember Dario Gomez, a friend who was present during one of the robberies and reported it to the police. Dario gave me good advice and told me, 'Teofilo, you are young. Don't be sad or go on pushing yourself to make decisions. Don't go looking for another job, either. Instead, start over with what you have, and borrow or rent tools from your friends in order to continue.' These words were the strength I needed to carry on. I found it so profound that I worked very hard in order to get ahead and achieve my goals.

"I encountered more difficulties in the 1990s due to the arrival of industrial plastics and aluminum from China. People didn't buy my designs because plastic and aluminum were cheap. I was on the verge of losing everything but I survived by adapting to the needs of my clients and reinventing my own line of work .

"My creative and innovative strengths helped me a lot. People who admired my art promoted me and I began receiving awards and recognition. In 2009, the Cultural Ministry distinguished me as a Meritorious Person of Peruvian Culture and, after that, the Provincial Municipality of Huamanga named me Ambassador of Popular Art and Peruvian Handicrafts. Also, the Minister of MINCETUR (Ministry of Foreign Commerce and Tourism), Magali Silva, recognized me as a Promoter of Peruvian Handicrafts. I feel very proud to represent my country in this way, doing what I love most.

"Today, my designs include candelabras, crucifixes, roosters, and sailboats, among other things. I especially enjoy making crosses and candelabras, And my most challenging work is making brass sculptures. My inspiration comes from the environment that I have lived in from my youth. In nature, I find all of the decoration that I use in my pieces, like the different varieties of flowers, birds, figures, shapes and forms.

"Every morning, I wake up at 5:30 and go to my workshop to make my candelabras and my crosses. I live there — it is my life and my home where I create new designs, paint and weld. My hope is that this art will continue over time, and that all of my sons, daughters, nieces, nephews, and everyone else who wants to learn will expand this local art. In that way, they will develop our society and ensure that new generations can learn to appreciate our culture and our arts, which is sorely needed.

"My home workshop is open to the community. I teach metalworking to students from universities, institutions and high schools. We receive internships from different private educational institutions, and I lend artistic pieces to the institutions during their anniversary expositions. Through these activities, we spread and promote Peru's traditional artistic metalwork.

"I have seven children. They all watched as I developed my art and saw the challenges along the way. They remember the dark and painful times in the 1980s, when they lost their homes and had to move elsewhere to find security and protect their families.

"Lucy and Jang, stand out because they accompanied me from the beginning. They helped us by taking care of their younger brothers and sisters, and also went with me to find materials. They learned to use my tools, to paint and weld. Today, their work is excellent, as good as my own. "So, what began as a hobby has become a lifestyle that both of them have committed to continuing, and to promoting in Peru and around the world — their legacy. They are my greatest inspiration.

"I'm very happy to work with you and have many dreams of sharing my art with the world. I hope people get to know me and enjoy my traditional works of art."

Lucy and Jang continue studying and working hard to create a future that includes a shelter for abandoned children where they can share their art and enjoy life in the country.

The Covid 19 pandemic has been very tough for don Teofilo, who had problems with his health. His family decided not to take him to the hospital where he might catch the Coronavirus. Many people who were admitted to the hospital passed away, so the family took care of him at home with the help of natural medicines and the guidance of some doctors from the capital. Today he is doing well and is at home with his family.

Jang and Lucy continue to move ahead with their art. Lucy has a young child who is already learning the art by playing with recycled pieces, just as she began. They love what they do and want to share their legacy, traditions and customs with the world.

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WOMEN S M L XL XXL
4 6 8 10 12 14 16 18 20 22
BUST 35 - 36 37 - 38 39 - 41 42 - 44 46 - 48
WAIST 27 - 28 29 - 30 31 - 33 34 - 36 38 - 40
HIPS 37 - 38 39 - 40 42 - 43 45 - 46 49 - 50
MEN S M L XL XXL
CHEST 36 - 38 39 - 41 42 - 44 46 - 48 50 - 52
WAIST 30 - 32 32 - 34 35 - 37 38 - 41 43 - 45
NECK 14 - 14.5 15 - 15.5 16 - 16.5 17 - 17.5 18 - 18.5
SLEEVE 32.5 33.5 34.5 35.5 36.5
FINDING YOUR SIZE

Take your measurements with the tape measure over your under garments. If your measurements fall between sizes you may prefer the next larger size. Inseam, skirt and dress lengths vary by style and will be listed in the item description. Our sweaters are knit in standard American sizes, however actual measurements vary by style.

BUST / CHEST

Measure around the fullest part of chest under the arms and over the shoulder blades keeping the tape measure level.

WAIST

Measure around the smallest part of the waist keeping the tape measure comfortably loose. Most garments use the low waist measurement noted below.

LOW WAIST

Measure around the body approximately 1.5" below the natural waist (above). This is the area where most pants and skirts actually fit.

HIPS

Standing with your heels together, measure around the fullest part of the body approx 7"-8" below the waist.

NECK

Measure around the base of the neck keeping the tape measure comfortably loose.

SLEEVE

Bend elbow slightly and starting at the center back of the neck, measure across the shoulder, to the elbow and down to the wrist.

INSEAM

Our standard inseam length for women is 32" and 34" for men; however inseam measurements will vary slightly by style.

 

Belts with buckles are measured in inches that correspond to a waist size however, most people do not wear belts on the waist, they wear them closer to the hips. A buckle belt measurement is take from the end of the "pin" of the buckle to the middle hole on the belt. Generally there are 5 holes for size adjustment, with a 1" space between each, so the middle hole will the be average size of the belt.

For at tie belt (no buckle) measure the belt portion end to end and half of the tie portion. This again is the medium size of the belt.

For a soft fabric tie belt it can be called "1 size fits most" and the entire length of the belt should be measured and listed.

See buckle/tie belt size standards below.

WOMEN S M L XL  
4 6 8 10 12 14 16 18 20 22
inches 26 - 30 28 - 32 31 - 35 34 - 38 38 - 42
cm 76 - 86 81.5 - 91.5 86.5 - 96.5 91.5 - 101.5 96.5 - 106.5

+/- tolerance: 0.5 inches or 1.25 cm

MEN S M L XL XXL
inches 30 - 34 32 - 36 35 - 39 39 - 43 43 - 47
cm 81.5 - 91.5 86.5 - 96.5 91.5 - 101.5 96.5 - 106.5 109 - 119

+/- tolerance: 0.5 inches or 1.25 cm

Sash tie length

Lay sash/tie out flat away from the garment and measure from end to end.

Belt with buckle

Measure from the end of the pin of the buckle (where it touches the buckle) to the middle hole.

Belt without buckle

Measure from the belt portion end to end and half of the tie portion. This is will give you the medium size of the belt.

Download our printable ring sizing chart to find the perfect fit!

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