Recalling his mother’s stories of growing up in Peñasco Blanco when she mentioned, “we dug up the amole plant to be made into shampoo. We also gathered osha and plumajio which were used as remedios; remedies. I know that my mother’s great grandmother, Catalina Mondragón de Valdez, a curandera, healer, delivered me at birth.” She was highly respected and her efforts were attributed to saving lives, especially during the influenza epidemic that swept through the villages in 1918. “In my memories, I can see my mother’s home altar; the retablos, painted panels, and bultos, carved saint figures.” Ray John recalls her saying, “Los santos de palo son los más milagrosos,” (the wooden saints have the most miraculous power). These would later influence Ray John’s talent, expressive powers in the printed word and with his paint brush.
As a student at Highlands University in Las Vegas, New Mexico, Ray John began writing and painting in the Las Vegas – Mora communities. His painting, Las Gorras Blancas, sparked controversy and served to regenerate debate and dialogue in social and educational circles on topics of justice, injustice, land rights and self-determination. As a member of La Alianza de las Mercedes, founded by Reyes López Tijerina, Ray John learned the value of writing not only about the struggles for land grant rights, but also the importance of promoting New Mexico Hispanic History in a positive manner. Influenced by continuous family conversations, storytelling and his research, he would soon gain national attention with his publication of Padre Martínez and Bishop Lamy, chronicling the life of New Mexico’s folk hero priest, Padre Antonio José Martínez of Taos. These repeating memories helped link him to the narrative that remained to be brought to life. The positive impact made by Padre Martínez’ love for his community deepened Ray John’s understanding of culture, history and his heritage.
Again, Ray John’s inspiration to document New Mexico history, set in motion his passion to reexamine how civil rights intersects with regional lifeway’s, through never before utilized lenses of new discovery. In addition to Reyes López Tijerina, Ray John credits a close relative, the legendary Fray Angélico Chávez, Fabiola C. de Baca and mentor Sabine Ulibarrí, among others, for their encouragement and support on his path to document the history of New Mexico on numerous topics, revealing unsung accomplishments and oftentimes correcting the historical record.
Ray John de Aragón
His paintbrush and pen have nourished a passion for History and Lore of New Mexico
Ray John was born in Las Vegas, New Mexico. A versatile artist, author and educator; he gravitated to abstract art in the 1960’s studying the Mexican masters like Diego Rivera, Orozco, and Siqueiros; never diminishing the first experience of his childhood memories, recreating the images and stories shared by family members.
Tenebrario