07.Call the Heyoka (Clown)” /” Llamen el Heyoka”
This installation produced in Martinique is influenced by the animistic traditions of the Dominican Republic and its neighbor Haiti, and the visual codes of statues, masks, and religious ceremonies on the island of Hispaniola. These practices, which encompass the traditions of Vodun, and the Gaga (Rara in Haiti) rite, are based on the indigenous culture of the Taíno peoples, which included characters and archetypes parallel to the Heyoka of the Great Plains Nations; I am drawn to the diverse expressions of this concept throughout the pre-Columbian cultures of the Americas. This also work embodyiesthe idea of "Radical Optimism."
Heyoka is a colorful sculpture, is based on the costumes of the elder participants (los Mayores). in the Gaga rite. It also celebrates art, spiritual traditions, and nature, based on the pre-Columbian concept of the Sacred Clown. I have been attracted to the concept and its iterations across cultures, from the Medieval Fool, Hecate or Hekate (ancient Greek goddess of crossroads, entrances, night, and light), to the Orisha Elegua (the spirit of the roads, who delights in tricks and riddles) as a means to make sense of the senseless times in which we live. The hallmark of the Sacred Clown is the truth that cuts through the lies and obfuscation of dominant forces. The Sacred Clown is often the master of the crossroads, serving as an intermediary between the earthly and spiritual realms. This is how I see the artist's role: the intermediary, the gateway to the unknown, the human who makes the unconscious visible.
These work c has a strong connection to Baroque art and the Churrigueresque style. The work includes many curving forms like Baroque art that rarely deals with straight lines, preferring elegant arches and curves wherever possible and sumptuous color schemes, in order to dazzle and surprise. The Baroque style was paradoxically sensual and spiritual, which I believe is one of the aims of my work. Its beauty lies in excess and eclecticism.
07.Call the Heyoka (Clown)” /” Llamen el Heyoka”
This installation produced in Martinique is influenced by the animistic traditions of the Dominican Republic and its neighbor Haiti, and the visual codes of statues, masks, and religious ceremonies on the island of Hispaniola. These practices, which encompass the traditions of Vodun, and the Gaga (Rara in Haiti) rite, are based on the indigenous culture of the Taíno peoples, which included characters and archetypes parallel to the Heyoka of the Great Plains Nations; I am drawn to the diverse expressions of this concept throughout the pre-Columbian cultures of the Americas. This also work embodyiesthe idea of "Radical Optimism."
Heyoka is a colorful sculpture, is based on the costumes of the elder participants (los Mayores). in the Gaga rite. It also celebrates art, spiritual traditions, and nature, based on the pre-Columbian concept of the Sacred Clown. I have been attracted to the concept and its iterations across cultures, from the Medieval Fool, Hecate or Hekate (ancient Greek goddess of crossroads, entrances, night, and light), to the Orisha Elegua (the spirit of the roads, who delights in tricks and riddles) as a means to make sense of the senseless times in which we live. The hallmark of the Sacred Clown is the truth that cuts through the lies and obfuscation of dominant forces. The Sacred Clown is often the master of the crossroads, serving as an intermediary between the earthly and spiritual realms. This is how I see the artist's role: the intermediary, the gateway to the unknown, the human who makes the unconscious visible.
These work c has a strong connection to Baroque art and the Churrigueresque style. The work includes many curving forms like Baroque art that rarely deals with straight lines, preferring elegant arches and curves wherever possible and sumptuous color schemes, in order to dazzle and surprise. The Baroque style was paradoxically sensual and spiritual, which I believe is one of the aims of my work. Its beauty lies in excess and eclecticism.