We are always happy to hear of miracles, especially where it is a mix of art, religion and some other interesting angles, like this story:

An artisan in a small village in western Mexico has earned the nickname of “diosero,” or godlike, by creating ceramic statuettes to which some attribute miracles, the artist said Monday.

“I have a little sculpture I made of St. John the Evangelist to which miracles have been attributed. It’s very small. As far as I’m concerned, that depends on a person’s faith and the beliefs each one has,” Martin Ibarra Morales, 43, told Efe at his workshop in Jalisco state.

Among the anecdotes about alleged miracles, Ibarra mentioned an aunt of his wife who had a son in grave state of health because of brain tumors.

“In the hospital she lent the little statuette of St. John the Evangelist to her son and when he saw it, since his faith is very strong, he said, ‘Now I do know I’m going to get better,’ and that gentleman is still alive and well,” the artisan said.

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Another of his creations that inspires devotion among believers is the Virgin of Zapopan, which he made and gave to an American seminarian, which is “in the United States” and now and then “they show it in poor neighborhoods,” he said.

Authorities in the state of Jalisco have given some of his statuettes to important people and dignitaries of international politics including Spanish royalty, the sculptor said.

Martin Ibarra said that he possesses no power to make his pieces become icons of faith for anyone, though he admitted “pouring” something of himself into each statue.

Of course, it wouldn't be a piece on Mexican art and miracles if the pre-Columbian roots weren't showing (e.g. see these earlier articles) and it does feel like he is drawing on much earlier beliefs:

His workshop is a small space made of clay like his sculptures, and is located directly in front of the Church of St. John the Evangelist, which is on the so-called “Franciscan Route,” a series of municipalities through which preachers in Mexico passed in the 16th and 17th centuries.

The church has pre-Columbian motifs since Mexican Indians took part in its construction, and inside visitors can appreciate the syncretism of the beliefs of the Franciscan monks and the religious cults of the natives, such as a face of the Aztec god Tlaloc on the facade of the Catholic church.

Ibarra learned the art of creating religious figures from his father, who began making them out of clay after he discovered a tomb with a variety of ceramic offerings.

Now that others have begun to imitate his work, the artist plans to continue innovating with his works through a symbiosis of pre-Columbian style and his own way of creating – and enjoying himself.

Source

Hat tip

An earlier article goes into more detail on his work and background:

Over a generation ago, Martín's father, twenty-five year old Sixto Ibarra was digging for sweet potatoes on a hillside near his village of San Juan Evangelista. He fell forward as his trowel encountered air instead of soil. Burrowing deeper, Sixto uncovered an ancient, pre-Hispanic burial ground. The tomb was filled with marvelous, mysterious clay figures.

Sixto had been a professional musician, as were his father and brothers. Musicians' not being in constant demand, the young man had time to marvel over the clay images he had discovered. The animal figurines that could also be played as whistles especially intrigued him, and he thought if men could create such things centuries ago, maybe I can also do the same today.

There was no tradition of pottery in Sixto's village, at least in recent memory, but he decided to dig up some local clay and try his hand at reproducing the smaller figures. Before long he was walking the streets of San Juan and nearby villages with a basket on his back, selling his clay animal whistles from door to door. These were especially popular with the children, who had few other toys or amusements.

Don Sixto never returned to music, choosing to continue to work in clay: experimenting, perfecting his craft, traveling, eventually exhibiting in museums, and teaching his sons, nephews and any others eager to learn from him. Even though Maestro Don Sixto Ibarra died in April of 2001, I could sense his constant, almost palpable presence during the hours I recently spent with his son. Martín Ibarra Morales never forgets for a minute where the story began.

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The master of detail replied, "I was criticized at one time for making pre-Hispanic reproductions instead of my own pieces. What those people didn't understand was that I spent a long time studying the eyes of the Olmecs, the lips, noses and facial expressions of the Toltecs and those from Colima. It was the work of all who went before me that enabled me to do what I do today."

Source

The magical use of clay goes back into the Upper Palaeolithic with the first pottery - when fired clay first appears it seems to be being used for ritual purposes, as can be seen at Dolní Věstonice.