Hardly anyone we asked knew of Ocampo. Our requests were often met with blank stares. Some pretended, telling me that he surely was a famous Patzcuarense artist. No, not even, I explained, telling them he was born in Celaya, now lives in Tepoztlán, and is famous. Well, at least Ocampo’s famous among those who know his work.
An art dealer in his sixties dismisses our query with the excuse that “there are so many up and coming young artists that I just can’t keep track of them all.” We tell him that Octavio Ocampo was born in 1944.
“Oh, you mean Melchor Ocampo?” Nope. Not hardly.
No, no, no, not Octavio Ocampo Córdova, the alcalde of Tuzantla.
Finally, I came upon F., who is clearly the most educated Patzcuarense we know when it comes to art. Yes, he remembered when the Ocampos and Boteros were sold on every street corner. But no one’s interested in them these days. He explains that Ocampo and Botero bought created giant paintings, which weren’t easily reproduced in easily portable and affordable sizes. And maybe the company that was cranking out those copies is no longer in business. I wasn’t ready to buy all of his explanation, but it came closer than any I’d heard all day.
At Starbucks, a man identifying himself as an artist whips out his iPhone to show us photos of his paintings, going on about how a woman in Los Angeles bought all of his paintings so that she could have a gallery of his work right in her house. I ask him about Octavio Ocampo. The name doesn’t register, and the iPhone-bearing artist says “Oh, I’ve spent most of my life in Mexico City, so I wouldn’t know some painter from Michoacán.” I tell him that Ocampo is important, prolific, and how he even painted a retrato of Jimmy Carter for then-President Lopez Portillo’s state gift to the then-President Carter. Another blank stare. We recite, once again, the salient details of Ocampo’s Wikipedia entry, explaining he’s no doubt well-acquainted with CDMX, and even though he’s surely visited Morelia and Patzcuaro, just like every Mexican citizen has, he’s no homeboy from Michoacán.
In Queretaro, we run into a man we’ll just call Emilio, an entrepreneur close to politicians and otherwise a fine, gregarious fellow, and we ask him about Ocampo. “Oh yeah, he’s a very good friend of mine” he tells us, reminiscing about how, back in his days as a television producer, he handled everything for Ocampo’s exhibition in France. Thrilled that we finally have caught up with someone who knows who we’re looking for, we chat about his work, Emilio telling us how he’s got a copy of the Mona Lisa in his house. But when we ask if he could contact Ocampo for us, or at least provide his contact information, suddenly his status as a very good friend shrivels to “Well, it’s been years since I’ve been in touch with him. Maybe even two decades.”
Showing anyone who’ll look photos of his work on my iPad isn’t yielding any results. I began to wonder whether a campaign to put his visage on milk cartons might work.