San Cristóbal de Las Casas. Chiapas, México
Two artists fascinated by volume, the tactile, the movement: sculpture. P.T’ul looks back in time at the cultural uses of lum (earth), contemporary with a gesture of recovering the Maya oral tradition through the manual molding of clay. Gerardo K’ulej gathers natural materials – and sometimes unconventional ones – to build objects that emanate from the existential celebrations and concerns of his dreams and spiritual-intellectual reflections. Two artists: young, committed, and consumed by their sculptural projects, where material means something, and meanings materialize.
“Pedro Gómez, or P.T’ul, (Chonombyakilvo’, San Andrés; 1997) is an emerging artist who quickly found his path as a ceramist of both sculptural works and high-design utensils. His preferred material is local (from San Ramón, in the Jobel Valley). He varies his firing technique, sometimes using an open fire pit, sometimes using a high-temperature kiln. As seen in his accompanying texts, he molds his shapes based on his memory, research with elders, and the collective subconscious of his people.”
“P.T’ul refers to those who have opened this path to him as ‘masters’ – all with the message to him to freely enter his exploration through trial and error, known to any ceramist in their direct encounter with the material. He speaks of Maruch Méndez, Jerónimo Morquecho as his main teachers. (Part of the material used comes in part from Pablo Millán, donated by Willy Millán.)”
“Gerardo K’ulej (Chilil, Huixtán; 1988) began in art four years ago with a very personal concern: to understand the relationship between art and science. K’ulej is a biochemist with a master’s degree, with experience in research and teaching. K’ulej is an abstract thinker who uses – perhaps more than words – physical representations of his concepts. There, the objects ‘speak’ for themselves. They are deep reflections on space and time. There is no lack of concretization in them: he talks about his fascination with Maya science, both classical and in processes of revalidation. Of course, there is also no lack of a sense of humor with a unique smile (Gerardo’s signature).”
“From the important interlocutors in his very own search, Gerardo points to Federico Burkha (sculptor), Kees Grootenboer (sculptor and architect), and Misgav Har-Peled (intellectual). Through his collaborations with Antún Kojtom and Maruch Méndez, K’ulej fully enters the field of social and spiritual Maya art.”
“The realization of this exhibition owes much to the dialogue between the artists and Marta Turok, a great specialist in the folk and indigenous art of Mexico and the guest curator of this exhibition. Together, they explore a complex field of art beyond the fashionable categories: craftsmanship, folk art, modern and contemporary art. They neither reject nor forget their own cultures; nor are they confined by them. It is art based on dialogue.”
Artworks
Equilibrium
Gerardo K'ulej
Stone, Wood, and Metal
2019
“Nature finds its way and moves on its own; it finds its natural state and grows harmoniously, even though man takes its heart, it heals. We are the mirror of our actions, the arrogance and ambition of gaining value from nature will lead us to our destruction.”
The breakdown of territory
P. T'ul Gómez
Terracotta, wool, threads, and tecomate
2019
“This piece represents my town, San Andrés Larrainzar, which continues to be divided by political parties, religious beliefs, and the economy. Today, the thoughts of our ancestors that once kept the community united and strong are no longer upheld. Families reject each other and no longer communicate. The chain and the lock represent the power that only a few people hold, seeking to lead the community as presidents or leaders of organizations, manipulating the people for their own benefit, without respecting the rights of women, children, and men. There is no longer awareness of health, education, or nature. This leads to the breaking of the community’s values.”
Ch’ul me’tik (Lunar goddess)
Gerardo K'ulej
Stone, Wood, and Metal
2019
In a universe woven with forces, the Tsotsiles call the moon Me´ tik u (the lady of the month). With a white and warm light, it winds around its own axis and orbits the balumil (earth).
Transport change
P. T'ul Gómez
Terracotta
2019
“Previously, animals like the horse, the donkey, and the mule were the ones that helped the farmer and were part of his life. They carried firewood, sacks of corn, and beans. They fed on grass and water. Those who hold the position of captains make a horseback journey around the church of San Andrés, carrying flags with them.”
Complexity
Gerardo K'ulej
Wood, stone, and coin
2019
“All the complexity of a culture, captured in a monetary value.”
The church offering
P. T'ul Gómez
Terracotta and natural dye
2019
“In the church of San Andrés, we have many saints, and each one needs someone to take care of them and wash their clothes. A person is chosen to do all the work, and they are called martoma. When they accept and receive this role, they must gather their family, and it is important that those who have held the position before are present to offer advice. The martoma hosts a gathering with their family and guests. They sacrifice a bull and offer the first meal. The bull is a symbol of unity and faith, as it is the point where ideas about tradition are shared. The martoma wears their traditional attire. A guide introduces them to the saint. The martoma offers the celebration, wishing that their role goes smoothly. The invited people must stay for three days accompanying the martoma as they take on their role. It is important to help—women cook, men carry water, and the elderly pray and dance to the music. The stains on the bull represent the energies that are combined.”
Poles
Gerardo K'ulej
Stone, metal, wood, and magnet
2019
“A column holding a physical effect, forces of attraction from different poles, is it not the same as culture? We are worlds of different poles, and that makes us special. The difference lies in our way of seeing and interpreting life; sometimes, we need to add extra weight to achieve balance.”
Cha’bivanej (Carer)
P. T'ul Gómez
Terracotta and wool
2018
“In San Andrés Larráinzar, when a house is built, the head of a livestock animal is buried in the middle as an offering to the earth. This is done so that the spirit of the animal will protect the inhabitants, guarding them from beings of darkness and demons that cause illness. The people of the village still believe in this to live with peace and confidence in their home.”
Ants (Woman)
Gerardo K'ulej
Wood and stones
2018
“A solid base, centripetal due to its center of gravity, with its feet on the ground, step by step it walks down the street with an unbreakable balance. It is so special that not even the breeze of the wind can topple its balance.”
Ik’vanej (He who carries)
P. T'ul Gómez
Terracotta
2019
“We have heard about the dog that guides the souls of people to the underworld on a narrow and dark path after life. When the body rests, death takes the people, and the soul begins another journey. My mother used to say that a black dog carries our soul and helps us cross the ocean and the darkness. That’s why, in this life, we should not mistreat dogs, because they will guide us to the light. If we have harmed them, they will throw our spirit into the water, and we will spend more time in nothingness, lost and suffering. Depending on how we were in life, that is the color of our guide; we have three options: it can be a yellow, white, or black dog. When we were little, a cousin told me that our soul spends more time on earth, retracing everything lived, caressing what once hurt us. We apologize for everything we have harmed, and we also gather what we have.”
The emotions
P.T'ul Gómez
Terracotta
2019
“This piece represents the emotions that we, as people, experience. Sometimes we shout out of anger, happiness, or at times we are calm. We learn to manage our emotions to our advantage. Positive emotions need to be listened to and felt because they help us hold on to our ideas and make us more formal in our personality and attitude.”
“The top part of the piece represents our brain, where we store our ideas to generate new things, and the body represents the personality that each person has.”
Balumil (Seeds)
Gerardo K'ulej
Stone, metal, wood, and strings
2017
“Everything starts with a stone, a seed. A seed planted on something inert, an immobile rock, configurations of waves in space, wrapped in matter coveted by man, regardless of the destruction of the natural.”
Jtotik, jme’tik (Our father, our mother)
P. T'ul Gómez
Terracotta and natural dye
2019
Geometry
Gerardo K'ulej
Metal, stone, and wood
2018
“From the rectangular to the abstract, a representation of the simplicity of our world, a language of imagination that shifts from a representation of the world we live in, a stone anchored to the vision of our land and the entire cosmic complexity in which we are immersed.”
Symbol of consciousness
P. T'ul Gómez
Terracotta
2019
“In the town of San Andrés Larráinzar, women let their hair grow, they pass the years without cutting it, and long hair represents beauty. When they take on a position, they braid it and arrange it around their head, symbolizing the knowledge and wisdom experienced by the ancestors and a sign of authority. They are seen with respect and referred to by the position they have held, for having the strength to endure and contribute to the responsibilities that the community needs.”
Hybridization
Gerardo K'ulej
Metal, stone, and wood
2019
“We are the biological result of genetics, the hybridization of cultures and thoughts, we are shapes and colors from genetic art. What you are, is the mixture of all the cultures of the past. It is absurd to think of human differences and races. That is why the key phrase of the Mayans is Ixh ala k’en, I am another you and you are another me.”
The weavers
P. T'ul Gómez
Terracotta
2019
“The spider weaves its house with its threads, inside or outside the houses of people. There, its children are born; it is not good to kill them when they are inside the house. People must say ‘om om om’ (spider) when killing a spider, or else, lost, we gather the hair and pieces of skin from times we’ve been cut, until we gather it all. The soul finds its rest and can finally travel with the black, white, or yellow dog toward the light.”
Empty
Gerardo K'ulej
Stone
2017
“The forms of life that extend in the universe, everything is sacred and ephemeral. My culture knows and appreciates this. Its existence is like the flower itself.”
Yalemvek’et (Skull)
P. T'ul Gómez
Terracotta
2018
“There are people in the village who dedicate themselves to scaring others like a skeleton at night. They walk past the doors of houses with the intention of making someone in the family sick. Almost at dawn, they return flying, where they left their skin, and they speak three times: ‘muyan vek’et’ (rise body), and the skin begins to settle back onto the bones. The following night, this person again leaves their skin in the forest, repeats three times: ‘yalan vek’et’ (lower body). The skin detaches from the skeleton and piles up on the ground, while the skeleton flies toward its victim to disturb them. Those who find the piled-up skin place garlic, pilco, salt, and lime on it so that the skin cannot rise to the bones of the person, and thus the one who practices this form of scaring will die.”
Fragment of thoughts
Gerardo K'ulej
Stone, metal, and magnet
2019
“A gap that represents the disintegration of an individual, isolated from their culture and identity, breaking apart and running through their dreams, through unknown worlds.”
Nahual Goat
P. T'ul Gómez
Terracotta
2019
“People who become animals are sometimes inherited by their family members who are healers or witches. They pass on this gift through dreams and are guided by a master; some have good deeds and help others.”
The meeting of nahuals
P. T'ul Gómez
Terracotta, glass bottle, and threads
2019
“Every year, the nahuales from different places meet to discuss humanity and what happened during the year. Afterward, they agree on the rules for the following year. They go to the ruins or the forest, where the nahuales of each person meet and decide which soul will be offered a special gift. They pass on their wisdom to continue with the work that life has given them. There are good nahuales who heal and think about how to protect people. And there are also nahuales who make you have intense experiences through dreams or by causing illnesses that lead you to death. It is a job offered to them by nature, where they discuss their activities and decide how to manage the gift they possess.”
A wild town
P.T'ul Gómez
Terracotta and natural dye
2019
“My ancestors were wild. When they had to defend the town of San Andrés Sakamch’en de los Pobres, they used incantations and had sacred ideas, beliefs, and ceremonies that had been taught to them by their parents. They were so important that they used them to work and live on the land, which is why they passed them down to new generations. The clothes of both women and men were woven by hand; they made their own garments as a symbol of freedom, not depending on factories. They also had communication with both the human and animal spirit, together continuing the tradition. The mestizos would harass and exploit the indigenous people when they came to sell their products in the towns; they would steal from them and abuse the women, while the men were beaten. They were discriminated against for their Tsotsil language and traditional clothing. They were mistreated and humiliated all the time. One day, they had to unite and show that they would not tolerate injustices forever. They discussed the future of their children and grandchildren who were going to grow up. They had to be free, so they decided to drive out the mestizos who dominated the town. The indigenous people had to demonstrate their wild spirit to free their lands from suffering, using reason and the strength that nature gives to its children.”
Max (Monkey)
P. T'ul Gómez
Terracotta
2019
Me’xpak’inte’ (Mist woman)
P. T'ul Gómez
Terracotta and hair
2019
The people of the town speak of the Me’xpak’inte’ (Mist Woman). She appears in the mountains when there is fog, confusing men by pretending to be a very beautiful woman. When a man is drunk, the Me’xpak’inte’ impersonates his wife; unaware, the men begin to wander aimlessly. A walk where reality is not perceived, with a very beautiful imagination. A path full of flowers and light. But eventually, all the wonders end, and they find themselves surrounded by many thorny plants, in a dark and unknown terrain, or she takes them to her cave. In the dreams of their family members, the drunk man will notify them of his location so they can rescue him before three days pass. Otherwise, they will never be able to bring him back. Because the Mist Woman leads them to another place. The elders and those who know about the Me’xpak’inte’ say that when one goes out to gather firewood in the mornings or during cloudy sunsets, it is recommended to turn their shirt and pants inside out or carry pilco (a sacred plant they prepare) so they are not deceived by the Me’xpak’inte’ or the spirits of the mountains.
The circle of life
P. T'ul Gómez
Coffee, coffee paste, clay, and fabric
2019
This piece refers to when we are born, we begin to absorb and build learnings from our parents and what we see around us. To achieve what we dream, going through different stages of life, and after everything is built, life begins to return to where it started. On Earth, we lose our energies, until we return to where we came from. Life is just an opportunity to enjoy it, to embrace what it offers, and to find happiness for each person.