Just recently Pope Benedict XVI announced the canonization of Kateri Tekakwitha, the Lily of the Mohawks. She is considered to be a patron saint of ecology and environmental issues along with Saint Francis of Assisi. Reason that inspired me to paint both of them on this carved wood triptych. The figure on the center is an anthropomorphic interpretation of Gaia or Mother Earth.  She is surrounded by seven children that represent humanity with its consumer gluttony, avarice, violence and other sins. In her hands she holds a skull and a Pineapple, symbols of life and death. Her necklace is Uroboros, a serpent biting its own tail symbolic of nature’s perpetual cycles of life, death and rebirth. Her earrings are the astrological symbols of the Sun and Moon. On the horizon on the left side there is a Spanish caravel, a symbol of imperialist conquest from the past. On the right side of the horizon an oil platform represents the corporate ruling power of the present.  On the upper segment of this triptych a depiction of a tree stands for life, the inter-connection of all things in nature and the hermetic axiom “As Above so below.” The inscription below is a proverb from the Cree nation: “Only when the last tree is cut; only when the last river is polluted; only when the last fish is caught; only then will they realize that you cannot eat money.”

In this triptych I have appropriated various representations of water deities from Mesoamerica and the Mediterranean. On the left wing a re-interpretation of Mayan/Aztec deity Chac/Tlaloc, god of rain and fertility. On the right wing we may be familiar with the Greco-Roman deity Poseidon/Neptune, god of the sea. Both these water based deities stand facing the narrative in the central panel. The image is a depiction of St. John the Baptist pouring water from a shell onto an indigenous convert that seems to be fixed with indignation at a scene on our far right. There in the background some workers seem to be working on a water pipe while a corporate dressed man holds up a white flag and suitcase. Behind them a crane and water tower can be seen. John the Baptist points up to the crest of this triptych where we can see the image of a plastic bottle of water with stars around it. This Latin inscription reads: Aquae Privatus Sanctus (Holy Privatized Water). On the lower predella a drawing of a giant octopus attaching a Spanish Caravel and an Oil rig implying that nature sooner or later will have the last word in conquest and corporate colonization.

On this drawing with egg tempera on amate paper I wished to represent some of the many influences in my work.  I was inspired by Gustave Courbet’s “The Painter’s Studio; A Real Allegory” a large oil painting that can be found at the Musee d’Orsay in Paris.  Most of my work incorporates mythic figures along with Christian Saints and characters from popular culture. On this self-portrait I bring some of these characters into my studio. From left to right I have depicted Mars, the god of war, Ronald Mcdonald, and Venus, goddess of love and beauty. Right beside her, Ganymedes, the mythic water bearer holds a cel-phone and is accompanied by a bald eagle. Ganymedes is represented by the zodiac sign of Aquarius and for this reason he also holds a plastic water container strapped to his back. Next to him and approaching the painter, St. Francis of Assisi and Mercury the messenger of the gods, holding two figurines; one of Athena, patron goddess of the arts, and the Virgin Mary.  Right next to him, my wife Blanca watches me paint. On ground level some little monsters hide under my chair with a Nintendo game system and a Tonka truck pushing a world globe.  Mickey sits on a toilet reading a book. All of these cultural icons have played an important role informing my world view and inspiring my art since childhood years. The appearance of Mars, Venus, Mercury, Ganymedes (Aquarius) and Athena all account not only for the influence of mythology in my life and art but also for their astrological relevance in my birth chart. This drawing is made on a very special paper I brought from Yucatan Mexico in 2010. Amate is a paper made from a tree fiber that was used by the Mayans in their sacred codices and is as durable as papyrus. By using this material I am able to draw on history and bring additional meaning to the work. 

The “messenger” archetype is universally known throughout human history and in different cultures. In Christian art, Angels are depicted as the divine messengers and in this piece I was inspired by this idea. A messenger can be a lawgiver, sage, reporter, or trickster. Information can be transmitted by images by spoken or written words. In this triptych there is a representation of the Archangel Gabriel, the chief messenger of God carrying a trumpet and a lily. The angel is flanked by two media angels, one carrying video camera and headphones and the other carrying a microphone, headphones and speaker. They stand for sight and sound or video and audio. By Gabriel’s feet there is an Egyptian scribe with the hieroglyph “Toth” (Egyptian god of knowledge) inscribed on a papyrus scroll. Right beside him a Renaissance chronicler holding a book that reads “Veritas” (truth). On the left wing of this triptych a figure resembling Moses holding a gun and a stone tablet that reads: ”Obey the Law.” On the right wing a figure representing the political satirist Stephen Colbert holding a digital tablet that reads “The word.” We can see how the “logos” (word) has evolved through time from clay tablets to papyrus, paper books to digital form. The main idea behind this triptych is that knowledge can be both serious and satirical and at the same time liberating. The dual nature of this archetype is manifested on the crest of this piece with the representation of a winged satellite with two stars and the astrological signs of Mercury “the messenger” and Uranus “the rebel liberator”. The lower inscription to this piece is in Latin and English combined: “Live Revelation et (and) Annunciation ex (from) Divinus (divine) Informer.”

“First to Fight” is a triptych about war and conquest. In it I have depicted different characters from history, popular and classical mythology. The central panel shows a warrior-like figure evoking the classical god of war, Mars, which is the archetype that inspires the whole narrative behind this piece. Mars, standing in front of a Hummer truck, holds a gas container on one hand and a spear on the other suggesting that war and fossil fuels go hand in hand. Wars of course have not always been about taking energy resources from other counties. Conquest, territorial expansion, riches and other natural resources have been used as justifications for war under the flag of patriotism and religion. All of these ideas are conveyed in this painting. Theodore Roosevelt represented on left wings stands for imperial expansionism in the name of patriotism. The Latin inscription above reads: In Nomine Patria (in the name of the fatherland) while Darth Vader (from Star Wars) stirs up his storm troopers to go into battle. On the right wing Hernan Cortes stands for imperial expansion in the name of religion. The Latin inscription above reads: In Nomine Deus (In the name of God)while the friar-like Lord Sidius (from Star Wars) instigates storm troopers to wage war against the rebels (infidels). Moving back to the central panel an inscription below reads “In Hoc Signo Vinces” (Under this sign you shall conquer) in reference to Roman Emperor Constantine’s victorious battle and conversion to Christianity. In the background the four horsemen of the Apocalypse symbolizing war, conquest, famine and death.  With the triptych closed, we see a Pope carrying a staff with the astrological sign of Saturn and confronting the devil who carries a staff with the astrological sign of Pluto. World wars are commonly associated with the planetary alignments of Saturn and Pluto. The sword bearing eagles above are symbols of imperial conquest and domination.

In this painting I was inspired by the esoteric arts of Astrology and Tarot. In it I have depicted a Mayan astrologer with a compass and heavenly sphere and a Gypsy cartomancer holding a Tarot card on one hand and crystal quartz on the other hand. There is a crystal ball in front of her as well. The astrologer searches for earthly/heavenly correspondences using a systematic approach and study of the planetary influences on Earth while the cartomancer uses her feminine intuition to better understand the purpose and meaning of life on Earth. Both represent the pre-modern occult Ying and Yan energies that combined can point towards a deeper transcendental understanding of the world quite different from our current utilitarian, materialistic and disenchanted world view. In the background we see a consumer culture urbanscape lying in ruins suggesting the ephemerality of our modern society. The familiarity of the Christian Madonna with child comes with some subtle surprises. The traditional twelve star halo has been transformed into an aura of twelve astrological signs. On her right hand she holds a four petal flower signifying the beauty and simplicity but also fragile nature of our material world. Baby Jesus holds a lamb on his lap a symbol of the Christ but it also implies the harmonious relationship that we should have with nature. The composition forms a holy triangle conformed of four figures. The Madonna represents the Anima Mundi or our world, Baby Jesus stands for the self and humanity as a whole while the two lower esoteric practitioners stand for my own search for truth and hidden meaning in the world around me and within me.

These two small paintings with similar titles are inspired by the title of a book titled “Guns Germs and Steel” by Jared Diamond. In them I have depicted a boy and a girl representing the colonizer and colonized both holding electronic devices that resemble Ipads. On the corners of these oil paintings on panel there are four symbols resembling Ipad applications. In them I have included guns, germs and steel plus religion. All of these factors had tremendous consequences on non-western societies being colonized by the Europeans since the time of Columbus. The use of symbolic “apps” makes reference to our current neo-colonial and consumerist predicament where we are constantly bombarded by the media and persuaded to give in to the obsessive consumption of new technologies. This of course serves the corporate agenda which does not seem too different from the previous colonial operation.

Painted in 2010, “Obamus the Lightbringer” is a parody on the idealized depiction of world leaders. The character displayed on this triptych is Obamus, a fictional hero who steps out of the cavern of ignorance (allusion to Plato’s Cavern) where the seven vices (represented by the people around him) refuse to come out and see the light. Our hero carries a water container, representing life and the New Age of Aquarius, a microphone representing the art of speaking and a globe with a red cross representing universal healthcare.  On the side wings angels fly carrying signs that read:”Hip” and “Hop”. On one side an Atm machine, a change dispenser and a video game arcade. On the other side a construction tractor and house with foreclosure signs on the ground. This piece was created with egg tempera on panel and metal embossing on the back. The archetypal savior and culture hero projection from the masses unto a leader that promises change has been a recurring theme in art throughout history and around the world. When it comes to politics any given issue seems to be polarized by the mass media allowing only two possible views. The focus is drawn upon good vs. evil, left vs. right or Republican vs. Democrat while ignoring the many other complex intermediary points of convergence between opposites. As an artist I do not align or identify with any mainstream political or religious view but rather find interesting lessons to be learned from all political/belief systems and how the masses behave under these.

“Pandora’s Secret Revealed” was painted in conjunction with “Prometheus, the Awakener Returns.” Both pieces refer to endings and new beginnings. In the original myth, Pandora was given a box by the gods and ordered not to open it. The box contained all the evils in the world and was delivered as punishment for Prometheus stealing the fire from the gods and giving it to humanity. Pandora could not contain her curiosity and opened the box liberating all the evils upon the Earth. In my re-interpretation of the myth, the box is a laptop containing a bitten apple in the shape of a human skull. This conscious use of Judeo-Christian symbolism is also a reference to Apple’s famous logo and the concept of knowledge. While this information is “downloading” onto the world, other invading figures disembark on the coast of an unexplored land. Uncle Sam, Christopher Columbus, Mister Burns from the Simpsons, Rich Uncle Pennybags from the game Monopoly, Mickey Mouse and Ronald Mcdonald are among the explorers about to claim the new found land.  Rats also come running out of a wooden barrel. Right next to the Spanish caravel there is a Greek Trireme and a Trojan horse in reference to Homer’s Iliad. Soaring up the sky a spaceship aims at the Moon. All of these share a common history of western imperialism, conquest and colonization. In the water a mythic sea serpent threatens the life of an overweight swimmer while crude oil is being released from a distant oil platform.  All of these background stories endow Pandora’s main narrative with new meaning. As Pandora’s secret knowledge is revealed, humankind unleashes chaos upon the Earth and himself with the newly acquired knowledge. With the discovery of a new continent, or of atomic energy, an avaricious and warmongering seed is planted in the hearts of those in power.

“Prometheus the awakener Returns”“was inspired on Richard Tarnas Essay “Prometheus, the awakener,” in which the author explores the archetypal meaning of the planet Uranus. This archetype is associated with cultural enlightenment, innovation, revolution, change, unexpected accidents, electricity, new technology, flight, youth and renewal. The image conveys the image of Christ Savior but also draws upon different symbols and elements from ancient myths, history and popular culture. Prometheus stands in front of a destroyed coastal city taken by the sea. Mayan ruins, Colonial churches, governmental buildings, banks, communication antennas, cars and consumer culture buildings crumble and fall into decay. This scene could be a reflection of our current socio-economic crisis or an eventual environmental catastrophe. In either case, a new man arises from the ruins. At his feet lie the vestiges of colonial history, a Conquistador helmet and a Bible. Also a plastic water bottle on the sand represents baptism but also stands for symbol of Age of Aquarius, the water vessel. With one hand he points down at two ruling forces represented by the church and governmental building. On the other hand he raises a technological communication device with a picture in it. It is a depiction of the Tarot major arcana card 15 “The tower.” The card shows two people falling from a thunder struck tower. The Christ-like Prometheus has a tattoo on his right arm of a Mesoamerican Plumed serpent. This image evokes the myth of Quetzalcoatl, a cultural hero and god from Ancient Mexico who promised a return. There is also an abdominal scar symbolic of sacrifice. The symbol on the necklace worn by Prometheus is that of the astrological planet Uranus. The stump of wood on the background is on fire which reminds us of the first gift from Prometheus to humanity from which no current or future technology would be possible.

“Satellite Dish Madonna” is a painting on panel inspired on the image of the Immaculate Conception and Our Lady of Mount Carmel. On this occasion I have substituted the Moon under Mary’s feet with a satellite dish, therefore the title for this painting. Traditionally the images of Our Lady of Mount Carmel depict the Virgin Mary and Baby Jesus holding a brown scapular, a sacramental associated with the promises of Mary’s special aid for the salvation of the devoted wearer. In this painting, the scapular holds a new meaning being inscribed with the “IT” short for “Information Technology.” The term refers to our current global information systems that interconnect all computers and world telecommunications. Baby Jesus holds a golden coin with the @ symbol that derives from the Latin word ad (at, toward, by, about). Corporate angels fly around with cameras surveying the holy icon. By associating Christian sacred imagery with information technology, I reflect on the Gnostic idea of the acquisition of knowledge or information as means of spiritual salvation.

“Super Sized Happy Holy Meal” is a re-interpretation of the pictorial theme of the Last Supper that responds to our fast food culture. Some of the participating characters on this painting belong to different periods and their apparent anachronism alters our understanding of the narrative in question. By bringing some historical figures from the time of Christ, the conquest of the Americas and contemporary culture together I comment on the neo-colonial and capitalist control, distribution and consumption of food. At the far left a Spanish guard holds a banner that runs across the top of the scene and reads: “Billions and billions mass-produced, multiplied, sold and served across the globe.” The message is an allusion to a well known global fast food slogan. The table is occupied by burgers, fries, pizza, a large sandwich and a super biggie fountain drink. Below, a little fat boy, a dog and an old beggar seem to beg for food. The expression of Christ is that of indignation. On top of the frame there is an oval shaped escutcheon containing representations of the classical gods of bread and wine: Demeter and Dionysus. They face each other with a cornstalk in the middle with a bottle of Coke instead of a corncob. This piece is a commentary on how we have produced, distributed, consumed and also viewed food from a Christian, Colonial and Global perspective.

“The Abduction” is inspired in the Greek myth of the rape of Europa, in which Zeus disguised as a bull abducts the beautiful Europa. This scene was often depicted by many European painters from Titian to Rubens. It has often been argued that the term “abduction” or “seduction” would be more appropriate to the myth than the term “rape” as it was not against Europa’s will that Zeus as a bull carried her across the sea. In this re-interpretation of the myth, the bull is none other than the Wall St. Bull, symbolic of the economic power of Wall St. and the corporate world. On the head of the Wall St. Bull a dark Mickey representing corporate power raises the appropriated torch of liberty and shows the way. As Europa looks back, we see a pedestal in the distance where Lady Liberty used to stand. Might it be that Europa and Lady Liberty are the same person? Below Europa some pop culture characters with consumer trash float in the water along with Lady Liberty’s crown and tablet. The humor may seem arbitrary but it reflects how the mass media can muddle up politics with entertainment. In the background a boat is about to land in a coastal area populated by passive consumer citizens. The boat carries some pop culture characters and historical figures. Among them we can identify Darth Vader, Uncle Scrooge McDuck, Uncle Sam, Columbus and the devil. Ronald McDonald, Santa Claus and Michellin pull a rope to anchor the incoming vessel.

“Utraque Unum” is a Latin phrase meaning “From two may be one.” It was used along with the motto “Plus Ultra” (Further beyond)on Spanish coins brought to the New World during the conquest and colonization. These coins depicted two globes (New and Old worlds) and the Pillars of Hercules that symbolized the strait of Gibraltar. I incorporated this imagery on the predella of this triptych. On the central plate a re-interpretation of the Virgin of Guadalupe looks straight at us while standing in front of a broken Aztec statue of Earth deity Coatlicue, also known as “Mother of god” or “Lady of the serpent.” The renewed deity stands over a black moon and an angel below as in the original icon. On this occasion the angel seems to have gained some weight and a bicephalous serpent approaches him from left and right with junk food and a TV with remote control. This dual headed serpent represents the mass media and consumer culture that in the end share the same body. Above on the triptych’s crest a bicephalous bald eagle stands for an ever more polarized nation. On the left wing Juan Diego (to whom the Virgin of Guadalupe appeared) kneels in awe. Right beside him a smiling indigenous woman holds up her baby. There are corn stalks, a pyramid and a flying saucer in the background representing the past, the mythic and natural world. On the opposite wing: Spanish conquistador Hernan Cortez  holds a gun and title of land while Dominican Friar Bartolome de las Casas kneels in front of the Virgin. Behind both men a modern corporate/consumer world emerges while a stealth fighter soars up the sky ready to attack. Both wings like the wings of an eagle represent two worldly experiences sharing the same space (body) and time in the human story on Mother Earth.