The Torch of Quetzalcoatl

A sculptural mural in two irregular shapes
Commissioned by the Denver Art Museum and exhibited throughout Colorado and the Museum of Fine Arts, Santa Fe, New Mexico

These were works in progress exhibited during which I interacted and dialogued with the public.

Larger Form: 72 feet along its curving width from one end to the other, and 2 ½ feet tall at each end ascending to 12 feet in height at the mural’s center front.

Smaller Form: 8 feet in height x 23 feet in length.

The total area for both forms is approximately 650 square feet.
THIS WORK IS AVAILABLE FOR EXHIBITION.

Structural Design:

It was my intention to create a sculptural mural, which would be instructive about Mexican-Americans and our struggle for social justice and cultural self-identity. This design was inspired by our ancient Mexican deity, Quetzalcoatl, the Feathered Serpent. My effort was to create a structure with no corners or sharp angles anywhere in its configuration. I believe I succeeded for there are only fluid and curving outlines suggesting the wind which flows freely everywhere and anywhere like Quetzalcoatl in his guise as Lord of the Wind. An added dimension which was not in my initial planning is that my sculptural mural is said by many to represent the Eagle and the Serpent, an ancient Aztec symbol. When viewing the entire structural shape of this work, the mural spectator will see the larger form as the Eagle with its outstretched wings about to grasp the smaller arching form, which of course represents the Serpent. Since this archetypal symbol was not my intention, it could be said that it emerged from my subconscious. These influences, both my conscious planning and subconscious guidance, produced this exciting structural design which is so appropriate for my thematic story, that is, Chicano/Mexican-American community arriving at our own self-discovery and liberation.

Central Spiral:

Within this shape are depicted three images which I chose to represent our community’s cultural and historical identity. This refers to an identity long suppressed and distorted by racism and Euro-Anglo ethno-centrism. The images assert our cultural and historical personality with dignity and meaning. The central image is that of a three faced symbol known as the Mestizo. This image represents the fusion of the Spanish colonizers with the indigenous peoples of the Americas. One profile is that of a European Spaniard, the other, that of a Native American while the central face signifies the new Mestizo created by this union. Around the Mestizo is shown a young man emerging from what I call “a cocoon of flags”. These flags are those of Spain, France, Great Britain, and the United States. The cocoon represents imperialism which has historically dominated our community. As the young man emerges from the flags, he glimpses his own banner, the emblem of the thunderbird on a red background, suggesting a Chicano symbol of our struggle for liberation. Further to the right and down, I portray a woman rushing to encounter her lost children in a tearful but joyful embrace. This figure represents a tragic Mexican legend, La Llorona, or the Weeping Woman. La Llorona was an Indian mother during the Colonial Period, who is said to have drowned her children in a rage against her Spanish husband. After repenting and loosing her mind for her action, La Llorona wails through eternity searching desperately for her children, screaming through the night “mis hijos, mis hijos, donde estan mis hijos?” (“my children, my children, where are my children?”) This legend is well known by most Mexican-Americans and many children repeat the story as if it were true. My representation, however, seeks to dispel that myth. I reject having a fairy tale of terror and unending sorrow as the most familiar in our folklore or mythology. I wish to give such a tragedy a new meaning by saying, “I don’t believe in self-negating fables, and therefore, I tell a more hopeful story which ends when La Llorona and her children are reunited after centuries of separation,” and “they lived happily ever after!”

Note: It is important to describe in some detail the symbolism, personalities, as well as my thematic arrangements and assertions. This will make for easier understanding of my mural messages.

Partial list of my murals:

Note: There are three levels of depiction on the two wing-like forms on either side of the central spiral:

Mid level – The Chicano/Mexican-American community

Top level – Heroes of our past

Lower level – Symbols of oppression overcome by our community

Mid level – left side

In this area are depicted numerous people moving happily towards the central spiral. The first figure is that of an elderly female farm worker who brings forth a bundle of crops picked under most arduous and badly paid labor. Immediately behind her is a younger woman (portrait of my older sister, Dina) who brings along construction plans and a hammer, ready to build a better future.

Others approaching are a young couple with an infant, a young man bearing a placard which reads “Imperialism seeks to dehumanize those it oppresses by depriving them of their culture and history. Therefore, in preserving and treasuring our heritage we realize our universal humanity.”

A large banner composed of many national flags is shown being carried by a group as if to say, “As we recognize the special beauty of our Mexican culture, we can more readily appreciate all other peoples and cultures.” Along with this scene is a young girl who carries a streamer which reads “Mutual respect among peoples.” Other figures include a Pachuco, young people encouraging each other onward, and many more.

Top level – left side

On this area are portrayed numerous Chicano and Mexican historical personalities who smile proudly from the past as they observe our community moving towards their liberation. Foremost among these is the ancient folk-hero deity, Quetzalcoatl; next is shown the last Aztec Emperor Cuauhtémoc, who broke the myth of the Spaniards being gods. The young Emperor is shown breaking the invader’s sword. A great literary figure from the colonial period, sor Juana Inéz de la Cruz converses with Chief Sitting Bull, something about being proud of her Mestizo people! Next is shown an anti-slavery martyr, John Brown, followed by Martin Luther King. Benito Juarez (full-blooded Zapotec Indian), President of Mexico, who defeated and expelled the French invader, Frida Kahlo, following this is a young Chicana being encouraged by the 1851 lynch victim, Juanita. Che Guervara being briefed by Joaquin Murieta, followed by many others. Among these heroes is our own Tony Garcia, playwright and Director of Denver’s Su Teatro, a Chicano Theater.

Mid level – right side

Leading the multitude from the right side is a Chicana Chola and a little girl who bring a bouquet of Colorado wildflowers. Behind them is a school teacher, a miner, and a young teenager singing and playing his guitar. Next are shown a young man and woman who bring along Native and African-American brothers to our moment of cultural self-discovery.

A young man, with his artist’s palette and brushes, comes forward to understand his role as an artist.

Another figure is that of a red-headed young man with his hand up-raised in solidarity.

Among many more is a Mayan woman in her traditional costume, a man in overalls, and others.

Top level – right side.

The first personality portrayed here is the revolutionary martyr, Emiliano Zapata. Following is Our Lady of Guadalupe, patron saint of Mexico. I chose to depict her, however, in worker’s clothes (like anyone of us!). Having come out of her ornate frame, she raises a scale of justice. Next is the Nicaraguan martyr, Augusto César Sandino, and Mexico’s Los Niños Heroes de Chapultepec (Boy Heroes of Chapultepec). These six military cadets refused to surrender to North American invaders in 1847 and died defending their country.

Looking on is Bishop Arnulfo Romero, Salvadorian martyr murdered after writing to U.S. President Jimmy Carter to stop supporting El Salvador’s murderous army and secret police. Miguel Hidalgo, Mexican Independence leader happily explains something to Bishop Romero. Depicted next is Joe P. Martinez (Ault, CO) posthumously awarded the Medal of Honor in WWII. Immediately behind Martinez are young Germans, Sophie and Hans Schöll, executed for anti-Nazi activities during WWII. Following is the Jewish girl, Anne Frank, then another Medal of Honor winner, Macario Garcia (Sugerland, TX).

Others that follow include modern day Mexican-American heroes such as Father Pat Valdez, Parish Priest in San Luis, Denver City Councilwomen, Debbie Ortega and Ramona Martinez. Also depicted are Eppie Archuleta, renown Hispano weaver from Alamosa, followed by Denver activists and poets, Ramon Del Castillo and Lalo Delgado. Finally a most beloved Denver activist and community leader, the late Rich Castro.

Lower level

This level extends 72 ft. continuously from one extremity of the main panel’s lower curving width.

On this area are depicted symbols of oppression, which our community has overcome on our historical path. I painted these in stark colors under the feet of the moving multitudes.

Lower level – left side

The Spanish Conquest – a human skull impaled with a Christian cross represents those indigenous peoples of the Americas who were whipped, starved, worked to death, humiliated and at the same time coerced into Christianity.

Nearby is seen an object which epitomizes the utter cruelty which indigenous peoples had been subjected to before the Conquest. The smoking mirror, mythical symbol of destruction and human sacrifice. Nearby, I have painted a bloody vessel containing the human heart of sacrificial victims. I painted this to point out the brutality which permeated meso-American religious rituals.

Next, I’ve painted a Mexican “Aunt Jemima” grinning up at the viewer submissively saying “Si Señor” or “Yes Sir”, with one hand being a broom and the other an iron.

Next, on a wedding cake instead of the traditional bride and groom on top, I painted the bride at the groom’s feet while he looks admiringly at himself in a mirror. Besides these, there are other symbols too numerous to describe here.

Right side – lower level

The first symbol shown to the right again refers to the Spanish Conquest. The skeletal figure of a Conquistador and the remains of a savage attack dog which were used to tear apart those native leaders who refused to submit to the Spaniards. Next is depicted an octopus-like creature in an army helmet whose tentacle-like hands greedily grab the land of Native-Americans and usurp what was once Mexico. Nearby is seen the spine of an enormous book which reads “Manifest Destiny”. Other such symbols continue on this side and they all show outrageous instances of political and cultural domination of our community by racists and exploiters. It is important, however, to keep in mind that their images are symbols being overcome or already overcome by our Chicano-Mexicano community.