Location: Nicaragua
In the unconscious of Mesoamerican people, survives the ceramic pot, the broken ceramic bowl and the clay figurine buried under the structures of Western culture. With my brush and palette knife I model each piece as if it were clay, and I discover it as an archaeologist under the walls of THE epistemology; that one of the Western Culture.
Nowadays, popular culture and the media are the new walls that cover the memories of our ancient cultures and our opportunities to rethink our identities, that is why I started adding grafitti and crushed cans to my walls.
Ten solo shows in Nicaragua, OEA Washington; Santiago,Chile; New Orleans, Guatemala, San José, Costa Rica. Seventy two group exhibitions.
Several national and international recognitions,the last one an invitation to appear as a Central American Master in the book Between Centuries, Fundación Rozas Botrán and an exhibition in Guatemala and Museos Casa Santo Domingo.
My proposal adds to the buried memories of our pre-Hispanic cultures and the colonial walls that raised over them, the new walls of popular culture, symbols of the ephemeral and the disposable, in which the ads, shows and public figures are imposed over our city walls as well as upon our historical memory, makes me think, (in the same way that I hope you will meditate on this matter), on how the pre-Hispanic pottery was a product of the earth and every vessel, pot, jar or censer, was not only an object of daily use, but also a sacred object with which both rulers and priests were buried, as well as the people of the villages, because ceramic pots were the container of life, cocoa, corn, chicha, and so many other foods now forgotten but that have been rising from the denied cultures, consistently erased from the face of this planet by the Western Culture.
Broken pottery reveal our memory malleable as clay, but fragmented through the centuries. Concave and convex, texturized oil on canvas, 100×80 cm. 2014.
“Colonial Walls, Prehispanic textiles and jars”
Claudia Fuentes de Lacayo began her art practice in the seventies of the past Century, sharing with archaeology the sensibility for digging into the unknown, approaching history as subject and historical memory as a proposal for explora-tion, including the viewer in the resolution of the material language of her paintings.
Memory on canvas, diptych, 100×80 cm. 2014. Our memory is pierced by the new values ??that came with the colonial times and then with the consumer values. But under all that, vestiges of wisdom still live there.
The mythic aboriginal tradition considers artists are shamans, who share perilously the gifts of journeying into the Realm of the Gods or the collective unconscious, and then back again.
The teponaxtle is a percussion instrument called by the Maya K'ich'e tun. The sound of his wooden tree, called the nature of mud and stone.
“Suppression of the ancestral waters spring. Tex-turized oil on canvas 80 x65 cm. 2011.”
Texturized oil on canvas 80 x65 cm. 2011.
I execute my art practice with the same discipline of objectives of archae-ological excavation, documentation, survey, recording, reconstruction and rep-resentation.
The rupture of the ontological content of the original cultures of America, by the implanted colonial wall, surrounded today by both consumer waste. That is the triple reality of Latin America.
The symbols I pick to represent the decolonial opportunities of our times, in this tetraptych ancient textiles and ephemeral objects of our consumer era that populate the urban contemporary landfills: crushed aluminum cans frame the images of ancient renewed symbols.
Textiles and ceramics live in the collective unconscious of us all, born in America, even we deny it surrounded by the ephemeral values of consumer culture
“Concave & Convex”
“Memory on Canvas”
“Dialogue with censer”
“Dialogue with Teponaxtle”
“Culural Intervention”
“Four decolonial symbols”
“Three Cultures”
