MAYA MONUMENTS ANABELLA MONZON IN RETROSPECT

MAYA  MONUMENTS     100  
 

(Becker, 1996; Pio, 1997; Singerman, 1999)
It is time for change now, to use art
implementation to address issues that
concern us all and affects children’s growth.

53

We can solve world dilemmas and

address issues through graphic

communication. However, local change has

to come first. If we cannot influence our

community to collaborate and work

together, how can we solve world issues

out there? [1] “Symbolic Interactionism

emphasizes collective action” (McCall

1971, and Becker 1990), “it is possible to

cooperate and interact with community

when we share the same symbolic

understanding” (Jack, 2019).

Keith Jordan lent me a drawing from

his book to illustrate the world structure of

Figure  67  Monzon  A.    Pueblos,  Photo  Monzon,  2018 The Maya Drawing after Elizabeth
Wagner’s Maya Creation Myths and

Cosmography. Being aware of the world view of the Maya helps us to understand symbols as a

whole. For the focus on those “meaningful interpretations of human experience,” which “can

only come from those persons who have thoroughly immersed themselves in the phenomenon

they wish to interpret and understand” (Denzin, 1983).

I imagine the higher, middle, and the lower world connected by tunnels, where the

mediator four Bacabs are between the upper and middle world, and the Mopans are between the

middle and lower realm.

53 McClelland Rumelhart issue. (2014). Cognitive Science, 38(6), 1023. https://doi-
org.hmlproxy.lib.csufresno.edu/10.1111/cogs.12155 Issue Information. (2014). Cognitive Science, 38(6), i–iii. https://doi-
org.hmlproxy.lib.csufresno.edu/10.1111/cogs.12083

MAYA  MONUMENTS     101  
 

The meaning of my symbols is sometimes esoteric or influenced by the supernatural. The

East door in Mayan Culture is the

entrance to the supernatural, the East

Door to the Underworld, where a

pantheon of deities’ dwells.
The Popol Vuh54 manuscript was

recovered in 1700 by a Colonial priest. It

had been kept a secret from Spaniards,

who burned all Mayan books. Only four

codices remain; one of them is the Popol
Vuh.55 I like to communicate with

symbols of Mayan iconography. I do not

wish to speak. There is too much

trouble caused by confusion. The lousy

interpretation of symbols causes

misunderstanding and a lack of desire to

cooperate. I believe harmony in a

community lies in knowing each other's

symbols or cultural signs.

The problem is a symbol that can Figure  57a  Monzon  A.    Pueblos  back  side,  Photo  Monzon,  2018
be arbitrary, and its definition depends on  
the value associated with it by a particular culture. Symbols change according to time and space.
The significance of my sculpture is that I am teaching how to read signs, and the future of this
world with its technology will require people to read code, signs, and symbols. Maybe history has
been preparing us to do so. Ancient civilizations are all written with symbols. That is why humanity
speaks Arabic, For example, before Egypt and Mayan Civilization, Chinese, Korean, and many
other languages

54    
55 PARSONS, M., & COOK, G. (2004). Cosmogonies and Culture: Teaching Genesis and the Popol Vuh in an
Interdisciplinary Course at a Christian University. Christian Higher Education. https://doi-
org.hmlproxy.lib.csufresno.edu/10.1080/15363750490479458

MAYA  MONUMENTS     102  
 

Intellectually it was tough to decipher the meaning of the symbols created in my sculpture

because I had to narrow the research and field of study by time. Mayan epochs, Pre-classic, Classic,

and Post Classic. Similar gods changed names, also, in space. Most different archeological centers

cities like Tula, Kaminaljuyu, Chichen Itza, Mayapan, Uxmal, Cozumel, Tulum, Tikal, Copan.

Even cultures like the Aztec, the Olmec, and the Yucatec have different names for the same deity.
Quetzalcoatl in Mexico is Gucumatz in Guatemala and Plumed serpent in Pueblos.56 The

Mesoamerican area started in Salvador and Honduras and came all the way up into Colorado,

Arizona, Utah, Nevada, the Pueblos Quadrant Å, and California.

Every time I do not know what to do next on a piece, I make coils of clay and remember

the light of the creator. I want to be an instrument of the healing art. And bring valuable meaning

or signification by faith.

To find out all the names of the sculpture pieces I made was extremely complicated. I had

to do a mental association of interpretations of symbols in deities engraved in rock or made by

ceramic by Maya civilization.

I do not plan what to do beforehand. I let the clay manifest what it wants to become. I

follow its plasticity.

My art forms are intuitive. The coils in my sculpture signify plumed serpents raining to

the seed to feed people. That is my signification, my clay coils I release, like my seed, and the ray

comes. from the creator to awaken them.

Figure  57b  Monzon  A.  With  Mandalas,  Photo  Monzon  2018   Figure  57b  Monzon  A.  With  Wheel,  Photo  Monzon  2019  

56 Skeen, I. (2007). Look Close, See Far: A Cultural Portrait of the Maya. Library Journal, 132(18), 66. Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=27372167&site=ehost-live

MAYA  MONUMENTS     103  
 

Figure  57a  Monzon  A.  Cesar  Chavez  Plaster,  2016   Figure  57b  Publicity  Above  Thunder  Best  Seller,  Cosmo  2002  

Figure  57c  Monzon  A,  Uxmal  Burning,  Monzon     Figure  57d  Monzon  A.  Chay  Abah  Burning,    

MAYA  MONUMENTS     104  
 

.

Figure  58a  My-­‐  Land,  where  I  am  taking  my  Mayan  Archangels,  Great  God!  2019  

My art gives meaning and objective to my life. 57Every time I do not know what to do next on a
piece, I make coils of clay and remember the light of the creator. I want to be an instrument of the
healing art. And bring valuable meaning or signification, by faith, to whoever sees my art.

I drew inspiration from Mayan Polychrome Plates and made many burnings, including a
portrait of Dean of Humanities and Art Department Ph.D. Honora Chapman and One of
President Joseph Castro, who established Cupboard a Foodbank for the students and got us a
kiln.

57 https://anabellapenamonzon.blogspot.com/2018/06/my-objectives.html

MAYA  MONUMENTS     105  
 

The significance of anchoring my sculpture in academia is that rooting my work on art
history opens a field of opportunity. This kind of anchorage in archaeology is very significant for

me as an artist and my work. It helped me to spread the theme of Mayan Art culture im Umiyed

States.

Figure58b Monzon A. Head of Yaxchilan, Prensa Libre, 2002.

MAYA  MONUMENTS     106  
 

Contemporary and ancient forms were always depicted in my work. I am a Public Work

MAYA  MONUMENTS     107  
 

Artist for many years in Kansa City, Missouri, and Seattle, Washington58

The I 90 Tunnel between Seattle and Mercer Island is the largest of its kind in the World.
It is a Pedestrian bike tunnel. I was Mural Painting Instructor Supervisor for the I-90 Tunnel59

Figure  58c  Monzon  A  Mural  I-­‐90,  I  painted  10  DOT  Seattle   Figure  58d  Monzon  A  Mural  I-­‐90,  I  painted  10  Parks  and  
Youth  Training  Partnership   Recreation,  Seattle

I was Instructor Supervisor I-90 Pedestrian Tunnel in Seattle. The students were from
First Job for Youth training Partnership. They were fifty ethnically diverse students. One could
hear them coming down trotting to the trailer Department of Transportation installed in the
entranceway to the tunnel. The whole project was an odyssey. The tunnel was more than a mile
long60.We had to carry the paints back and forth; needless to say, coming back out for a break
was out of the question. I posted a link to a video of the murals and tunnel walk, below. Anyone

58 https://maalearningcenter.wordpress.com/anabella-pena-monzon/
59 https://www.youtube.com/watch?v=BSP2lPf2dU4

them, some areas are added between murals, probably to cover graffiti. The video underneath
gives you a quick view of a bike going through tunnel and murals.

 
60https://www.youtube.com/watch?v=qP9UV9A5w90
   

MAYA  MONUMENTS     108  
 

who watches will realize the amount of walking involved to paint all the paintings. I had half the
Murals another Instructor had the other half, I worked on those too because I finished mine first,

I had to bring drawings up to scale and paint them together with the youth. I could not

paint my Art because I got hired by the City, and it was a conflict of interest.

I got a small drawing and brought them to scale. We only had the summer, so it was a
very ambitious project. I am the Programing Director for MAA (Multicultural Art Alternatives)
for many years. I promote Art, Artists, and Programs.61

Figure  59  and  59a    Monzon  My  Mother  Luz  Monzon  Castro  Conde,  Directora  del  Inca,  2002  

My mother was an Angel of Mercy, a teacher, and a Principal, she was loved by
thousands of people. She helped me become who I am more than any other human being alive.
Luz Monzon was an exemplary person devoted to prayer and Education.

Principal at an Elementary school in San Jose Pinula after retirement from Inca Institute
National of Central America. She was not a great artist, but she was the one who taught me to
love the arts. She taught Language and History for fifty years. I try to make her proud. I feel she

61 https://maalearningcenter.wordpress.com/
 

MAYA  MONUMENTS     109  
 

is with me; she taught me to have an altar and pray for my ancestors. My Last names are Castro
Conde, Peña (rocky mountain) de la Cruz (of the Cross) from my Grandparents. All three,

President of Fresno State, Graduate Studios Founders, and I are Castro. Destiny, Fate or allegory.

My first sculpture I made was Cesar Chaves, my first banner in California was for the

Fresno Unified Department of Education, Cesar Chavez parade for Chis Correa’s (of Holy
Cross) sister.

Then I did Mahatma Gandhi for a contest I won, and I made Gandhi’s Portrait for

Ahimsa, Non-Violence Week celebration upstairs and later I participated in a dual show with

California Native American basketry artists guild. All these events are documented ahead.

Figure  59b  Monzon  A.  Cesar  Chavez  Non  Violence  Exhibit  with  my  Picture   Figure  59c  Monzon  A.  Mahatma  Gandhi  Portrait  for  
of  Mahatma  Gandhi,  2008   Ahimsa  at  Cesar  Chavezm  Acrylic,  2008.

The Language of silent resistance is a peaceful sign of communication. These forces of worldly

transformation and redemption are a salve to dissipate issues created by the abuse of power, in

place since the confusion of Languages in the time of the Tower of Babel

I participated in celebrating "Ahimsa" Month at Cesar Chavez, exhibiting my portraits of

Mahatma Gandhi social anti-colonialist who liberated India by the power of words, using

Language as an ethical tool in the 1940s.

MAYA  MONUMENTS     110  
 

Figure  59ci  Monzon  A.  Fired  in  pieces  to  fit  kiln.  Hazonec  Blue,  2018  

   

MAYA  MONUMENTS     111  
 

Figure  59d  Marshall  L.  Canadian  Journalist,  Toronto.  Photo  Lloyd  Marshall

Figure  59d  Monzon  A.  Beginning  Sculpture,  Cesar  Chavez   Figure  59e  Fresno  Unified  Department  of  
with  Kriss  Kessy  Instruction  2013 Education  Cesar  Chavez  March  Banner,  2019

Figure  59f  Monzon  A.  Logo  for  Templo  Yoga  zona  8,  NRP-­‐ Figure  59g  Monzon  A  First  Prize  Award  in  Cesar  Chavez  
Movimiento  de  Resistencia  Pacxifica,  1998. School  contest,  2008

Non-Violence is the silent scream of the masses; it is the voice of the downtrodden and
oppressed, it is a language of the human soul, and it is the symbol of peace —a world where
confrontations leave stigmas, political systems of exploitation run rampant.

MAYA  MONUMENTS     112  
 

She used Mayan logo drawing I made (of a polychrome ceramic plate,) for the banner of
the process of Peace between Central America-Columbia and the European Union. It is significant

because this was the pact of peace to end forty years of war.

Figure  59h  Monzon  A  Encuentro  de  Cooperacion  de  la  Union  Europea  con  Guatemala

Figure  59i  Monzon  A.  Movimiento  de  Resistencia  Pacifica,  Jorje  Ramirez  Valenzuela,  Templo  Yoga  zona  8,  Guatemala.

My daughter Mahishi Pena Marroquin is helping thousands of children, is to start an adult
education program with the Department of Education in Guatemala this year 2020.
The program will educate Teachers about children with dyslexia.

MAYA  MONUMENTS     113  
 

  I was the first person to touch the sacred Fire of Peace after Presidents left the circle
around it. I ran to it and did it to share the victory with Master Krishanda/Jorge, who fought hard

to attain the peace and is now resting in peace. it in memory of Jorge Ramirez Valenzuela

Peaceful Resistance62 leader of Ahimsa in Guatemala who was my spiritual guide. He was an

incredibly powerful Mayan seer, a Shaman who influenced me my entire life. The first art I made

Figure  60  Jorge  Ramirez  Valenzuela Figure  60a  Monzon  A.  Sculpture  of  Krishanda,  First  work  1916  

was for him, he believed in my art before I did. book, at Jorge Ramirez Valenzuela Yoga Temple

I wrote a story, my first effort to illustrate at Yoga Temple of zone 8. My art covered booklets
issued with his messages. He is the Non-Violence, Peaceful Resistance(Ahimsa) Movement in
Guatemala in those times when we had forty thousand disappearances. “It was midnight, the
reckoning Hour of the organic self. In the jungle night, still warm from the noon sun on the
clayish soil appeared two silhouettes against the penumbra of the night, Chay Abah, the priest in

62 https://www.facebook.com/AhimsaRevival/

MAYA  MONUMENTS     114  
 

the Temple of the Serpent and Huic, his disciple, sat quietly like sphinxes. So, Jorge kept my
story in a safe, he told me. When I went back to see him. Drawings were made by the best artist I

Figure  60b  Monzon  A  Prensa  Libre  News  Paper  article,  Guatemala,  Third  Pyrographic  Exhibit  ,  in  Jewish  
Community  Center,  KCMO.  2003.

knew Francisco Tobar Blanco, the Light in my life, for a long time. Last time he said good bye,
he said “Anabella, what can I tell you? Just Look Up, look up” .” I asked him why he did not

MAYA  MONUMENTS     115  
 

print his messages anymore. He said because they read them one time is fine, two times is fine,
But, by the time they read them three times, they start making all kinds of conjectures and

assumptions.

MAYA  MONUMENTS     116  
 

Figure  61  Monzon  A.My  studio  number  two,  the  second  year  2018  

 

Figure
 61
 a,
 b,c,d  
 
 
 
 
 
 
 
 Monzon
 Anabella   Built
 and
 Fired
   
 
 In
 pieces.
 20197  

Figure  61e  Monzon  A  reinforcing  base  of  sculpture  with  cement  after  Show,  2019  

MAYA  MONUMENTS     117  
 

Figure  62  Monzon  A.  Assembling  Pieces.  Photo  Monzon  2018    

This codex is a significant mythological tale, recorded in pieces and translated by an

unknown Dominican missionary in the 1550s. The text, the Popol Vuh or Council Book, is now

the most detailed source material we have concerning the Mayan civilization.63

    Figure  61a  Monzon  A.  Ceramic  Plate.  2019  
Figure  61  Monzon  A.  Reinforcing  the  base  of  last  piece,   Craig Polanaski Collection.  

Wood  straightens  Cement,  Monzon  2019.  

53 Woodruff, J. M. (2011). Ma(R)King Popol Vuh. Romance Notes,

MAYA  MONUMENTS     118  
 

Quiche is an area close to Quetzaltenango, midwestern highlands of Guatemala, where my
family has lived for centuries, and my mother was born. It is crucial to have a personal

significance relationship with the subject of my work. It is essential.

My mother used to tell me stories from Popol Vuh Mayan Codex 64since I was a child,
and she used Mayan Myth names to call our pets. She contributed to form my ideas. She was a
high school Language Teacher and she taught me to have a Lexical Memory as well as get
equivalences for high school in Guatemala when I came back from going to school in Canada for
three years, without her help I could not have continued to go to school. She was the Principal of
the Largest Public School in Central America and dearly loved.

I grew up in the mountains, and the sky seems to be closer in the tropics and has many
stars, it feels like you can touch the heavens. The rain lasts six months in the tropical jungle, and
thunder is not a straight line of light, but many myriad lights come out of the main snake-like
thunder. At night thunder look like birds of electricity embroidered by a loom in the sky of a
native Indian’s attire. In the nights,

I saw the Feathered Serpents65 thunders when I sat on the pyramids. I visited the ball
courts in Teotihuacan and sat in the stepped pyramids caressing with my naked feet the stones. I
danced by the pyramids in my costume nearby.
A crowd stopped and got out from their cars, and people came uphill running; while I was
tumbling down in circles trying to gain footing on the steep floor.

They thought we were filming a movie, and I felt the fear of being trampled. It was
significant because that is when I got saved from being a dancer and became an artist instead. It
felt like I was a sacrificial maid among the huts, and I trembled with ancient passions.

I was standing on the foothills with the red veil dress that whirl winded around me as a
crazy butterfly. I was full of dreams that one day would go up, not like trails of smoke, but like
trails of coils. My meaning is the caracole seashell, and my art forms are organic, circular.

64 Nelson, R. (2011). Vigilance, expectancy, and noise: Attention in second language lexical learning and memory. Second
Language Research, https://doi-org.hmlproxy.lib.csufresno.edu/10.1177/0267658310385757

65 Tedlock, Dennis. Rabinail Achi: A Mayan Drama of War and Sacrifice. New York: Oxford Univ. Press, 2003.

MAYA  MONUMENTS     119  
 

Figure  61b  Monzon  A.  Fountain  of  Life.  Water  Show,  2019   Figure  61c  Monzon  A  Sea  Shell,  my  meaning  word,  2019  

Coils also signify Quetzal bird feathers, which are long; they can be longer than six feet and are
narrow. Quetzal is the National freedom bird of my country and our currency66. The Quetzal
cannot live in captivity because it dies of sadness, that is why they call it the bird of Libert.

Figure  8 Figure  9  

It is said that the breast of the Quetzal is red because it landed on Guatemalan Indian Hero Tecun
Uman who fought the Conqueror of Guatemala, Don Pedro de Alvarado. Chay Abah the Mayan
personified god dwells in the center of the big tropical trees.

66 https://bit.ly/38Ds4kU
 

MAYA  MONUMENTS     120  
 

Figure  62a  and  b  Monzon  A.  Chay  Abah,  Sacred  Stone,  and  Huic.  Photo  Monzon,  2019  
 

   

Figure 63a Monzon A. Monjas Blanca, I had to break Figure  63b  Monzon  A.  Tohil,  Lord  of  Air  and  Sun,  Photo  
Monzon,  broken  because  of  weight,  Photo  Monzon  ,2019  
this one, Photo Monzon, 2019.
 

MAYA  MONUMENTS     121  
 

PROCESS

The coils in my sculpture provide me with a sense of lights’ joy. They are living

thoughts, help, and guidance from above, each loop brings communion with hermetic silence

I do not like to see blood spilled. Mayan in my blood, so I experienced the need to build bigger

and bigger to request a stop to war sacrifices and Volcano Eruptions.

Every time I do not know what to do next on a clay piece, I make coils and remember

the light of the creator shines from above as I make them. The description of the work involves a

lot of faces. They look irregular in bone structure, like face deformation is typical in Mayan art,

and later, typical of torture experienced in the hands of Spaniard conquerors and priests. In
Santiago Atitlan, Guatemala children 67these deformities of mind caused by trauma because they
are survivors of government-led systemic violence against the Maya Tzutujil community.68 In my

creations, odd faces represent mind deformations in culture, like masks.

The discussion may address the social

implications of cultural beliefs, for example, the

practice of communicating with ancestors how it

influences the look and feel of my work.

There are grand celebrations that

commemorate the dead, like Fiesta, in Octavio

Paz. People release their daily roles, and

everyone can be what they want to be. Blow out

the steam of repression and poverty caused by

Colonialism. People do not have a voice; they put

their views to messages from beyond, to

ancestors, so they can say what they want and not

be held accountable and punished for their own

Figure    64  Monzon  A.  Bronze  rabbit,  Edward  Gillum  helped  
with  wax  mold.  Photo  Monzon,  2019

67 R   odriguez, F. (2018). Children in Crisis: Maya Identity in Guatemalan Children’s Drawings. Studies in Art Education, 59(4),

311–327. https://doi-org.hmlproxy.lib.csufresno.edu/10.1080/00393541.2018.1509262

 

MAYA  MONUMENTS     122  
 

opinions. Octavio explains his view in the review book "the Bow and the Lyre" poetic revelation.69

Poetry is also a symbolic representation; words have two meanings "language when one

word plays a double role (suggesting two meanings

at the same time); we call it a pun." These

philosophical qualities, of double meanings or

double roles, played in Fiesta, are studied since the

Greeks. Philosophy began in a particular category of

"polar doublets": "paradoxical doublets."

Those exciting features of Socrates'

personality so often noted by his contemporaries,

who described him as "an enigmatic juxtaposition of

contrary elements: sober although drinking freely."

(Sharon, 2018)"A vision is finally provided for an

escape from the unsatisfactory status of human

separateness," a unity is perceived in the duality

principle of creations.

Art forms fill hallow empty spaces, but they are not

considered a duality of two separate objects but a

Figure64  Monzon  A  Imix    application  Hardener  resins.   unity. A vision of integration is required to ignore the
2019 ambivalence of inequality. Violence cultural clashes

in Guatemala come from the confusion of symbols in a hybrid culture. Mixed values develop from

two different cultures inherent in the population. The Spanish culture with pompous colonial

constructions and the Mayan Culture with pyramid sites. I am talking about human ethical pursuit

express by symbols in culture through the arts, symbols that perform a catalyst mixture of opposing

ideas of dual meanings in society. Symbols are entwined together, like words in poetry, 70 This

subliminal quest of unity is expressed like a river of torrid passion contradicting waves of pursuit.

69 e Valis, N. (2000). The Moral Voice of Octavio Paz. Modern Age, 42(1), 49. Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=2963209&site=ehost-live8
Londré, F. H. (2004).

70 The Bow and the Lyre: The Poem, The Poetic Revelation, Poetry, and History (Book). (1990). Library Journal, Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=9012101043&site=ehost-live  

MAYA  MONUMENTS     123  
 

Eugene Ormandy commissioned the second recording of Ginastera’s final and unfinished
orchestral essay, the Popol Vuh: The Mayan Creation. In his Philadelphia Orchestra. “The
composer worked on the piece over the last eight years of his life, leaving eight of its proposed

nine sections complete and fully orchestrated when he died. Unfortunately, the unwritten ninth
part was to represent the end of the process of the world’s creation, as outlined in ancient Mayan
mythology.”71. Many things are left unfinished because not all things created by men will see
fruition as it happened to my big statues, they were too big, so I had to break and rebuilt them.

I thought I created the problem I can fix it! I did it when I lost my cat for 12 days (in my
heart, no loss could be more significant). The main
focus of the project was to create movable work. The
furniture dollies can transfer weight, but not have it on

them permanently. It was tough to break the three most
massive statues, but in doing so, I develop new ways of
building them, which allowed me to balance the weight
on either side, back and front, and left and right. My

sculptures are symmetrically balanced, and the left side
mirrors the right. They are four colors to represent the
foue elements of cardinal cross of Mayan Myth
numbers. Quality of artwork is consistent because it

manifests evidence of independent research and also
decisions making throughout execution methods of
constructing sculptures. After Show, I had to enter the
new conceptual stage of the transferring of the work

Figure64a  Monzon  A  Broken  Chaahk,  pieces  rescued   required the big statues to be reinforced by an outer
face,  arm,  leg.  2019 layer of exothermal additives with a brush. Coils
needed to be harder, because I knew other people push
the work from many points, not just handling spots I

created to move them. From this experience, I learned to assemble clay pieces together. Faculty of
Graduates helped, giving me a Research Grant, so I did Research on this.

71 Skeen, I. (2007). Look Close, See Far: A Cultural Portrait of the Maya. Library Journal, 132(18), 66. Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=27372167&site=ehost-live

MAYA  MONUMENTS     124  
 

There is hunger in America for alternative spirituality. 72looking for shamans and healers

when western medicine does not provide a cure for their ailments. Many ailments are

psychological, and it has to do with the search of meaning, the lost hollow space within. Clay

statues are hollow within not to become too heavy, but Mayan story says, in the beginning, all was

dark. All was silent. Only Heart of Sky and Heart of Sea were there. I believe in the hollow space

inside the clay ceramics heart of the sky and earth meet and embrace emptiness. Except we are

trying to run away from void instead of realizing an empty mind is an asset because we can fill it

with new dreams. Or we can keep our minds busy to help others by Education. I made this

instructional technology video in Class CI 149 with my Group five for our Project with Miss
Keeler.73

Awareness has an infinite inherent

fluidity that will fill the mind, within but also

without. The progenitors of the Maya creator

gods eventually clouded the vision of the first

men from their descendants. But "nevertheless

believe themselves to bear within their blood74

the potential for divine sight" (Christenson,

2007.) The Mayan priests think they can learn

from their ancestors because their vision sees

beyond time and space. Evon Vogt noted that

the Tzotzil- think that anciently their people

could see inside sacred mountains where the

ancestors live." Jorge saw inside the Volcan de

Agua y el de Fuego and for told of the Eruption,

He warned us to have good thoughts, because

violence cloud of dark thoughts threatened to

Figure  64b  Higueros  M.  Mayan  Priest  Shaman  seer  in   make Volcano exploit in three days, unless
Guatemala  City,  Jorge  Ramirez  Valenzuela.  Photo  Monica  
Higueros  ,  2019

 
73  https://sites.google.com/a/mail.fresnostate.edu/ci149-anabella-monzon/badges/-64-video-tutorial
 

MAYA  MONUMENTS     125  
 

there was more positivity. It should be taught a person does not have to be others; they do not have

to walk on their shoes; they have a chance to find their way. Christensen says, "In her classroom,

I found my voice and no longer hid in the shadows. In her classroom, I realized I didn't have to fill

my sisters' shoes. I could walk on my own."75 (Vogt, 1993.) Art concepts should encourage agency

in youth. Like creativity’s voice. Today only shamans can develop these powers; that is why I

make my statues rock like finished because stone lives inside mountains and this symbolism

empower my figures to act as conduits for wisdom, to balance earth aura or magnetic light around

it. Mountains are Heart of Earth, and they can give back the power to see beyond, to a pure heart.

Figure  64c  Martinez  L.  Tikal  Mayan  Temple,  Photo  by  Lino  Martinez,  Peten  ,  Guatemala,  2016.  

I grew up learning Colonial Patriarchal values from Spanish Culture from one side of my
family (my father). Then learning social values of expression and action from Mayan Culture
(my mother) from the other side of the family. Hybrid symbolism values of culture create chaos

75 Watson, R. (2019). Walking My Own Path. Horn Book Magazine, 95(3), 56–57. Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=135975368&site=ehost-live

MAYA  MONUMENTS     126  
 

of learning outcomes of interpretation. A mother screams to her child “speak softly,” a father

slaps a young son saying, “be nice,” what is the message? In the Mayan Regions, Mexico,
Honduras and Guatemala, shamans always 76 perform ceremonies. I grew up smelling myrrh.

Churches have Mayan Gods besides Christian gods, and the language, as well as the customs and

Figure  64c  Iglesia  (estilo  Colonial)  de  la  Merced,  Antigua.   Figure  64  Iglesia  San  Andres  de  Xecul https://bit.ly/2SBpfLO
https://images.app.goo.gl/ZDb5qTV5rabdpsSD99La    

beliefs, are fighting to integrated themselves through many arts and crafts. To renew my

technique, I integrated things I learned as a child, to apply “Cola,” rustic cheap shoe glue (that

comes in the sticks) to my pieces, in the form of art resin. Mixing old and new techniques, I

obtain the look of authenticity. I switch the way I apply art resins to harden the coils, from a

sprayer to a brush, where the substance can be thicker and strengthen more. These kinds of

decisions are hard to make when there is no one else doing the same methods; there is no

information. I started to apply art resins that it, with a brush on each piece not deluded with

water, is much more expensive but effective. Besides, I need to work on the bottom to anchor

piece to attach it more firmly to furniture dolly. For safe transfer, I need a harder cement

anchorage.

If I apply concrete to base, which has to be the weakest link, I strengthen anchorage.

Also, I will need to paint sculptures weather-resistant mixture the old way, with a brush, not a

spray, like A problem is if I change color in one part of the figure. I have to repaint the whole

sculpture; this involves putting 30 miles an hour wind velocity primer before I paint the body, so

the paint will adhere as inlay oxide, in substance clay, and not remain on the surface. It is all

76 Salt, E., & Bryant, E. (1998). Secrets of the Shaman: A summer trio. Library Journal.
 

MAYA  MONUMENTS     127  
 

tough work, I have to the floor or sitting very low. The phase involving doing my job, not just
viewable but transportable, is the most vital stage — I the level or lying very low. The period

involving making my work not only visible, but portable is the most critical stage. I cannot

afford to break them and have to rebuild them; storage will not allow me to work in space. The

right three statues are the ones that I had to break because the weight was like eight hundred
pounds of clay.

Figure 65 Monzon three statues I broke, from Right side, Photo Monzon, 2019.

The weight of the whole sculpture cannot lay on a small coil piece. Transfer belts around the
parts would crush if soft when on rolling tires of moving vehicle move dollies on wheels
discussion of the body of work as a whole. Of the body of work as a whole.

Is the work finished? is the work secure.?. ill the work survives transferring to another
location. Can other people touch and move the job safely? It is structurally sound. What is the
weakest part? How can I resolve any weak spots? Go back in memory to x-ray the execution of
each piece to analyze the most vulnerable and strengths and improve the manageability of each
statue. To anchor work better, I added cement at the base. It took me a while working every day
to reinforce each piece adding the hardener to some, over the coils.

The exhibition as the installation is an experience of enlightenment, because is not solely
pragmatic in nature. Kant philosopher expresses in the era of Enlightenment, “Humans must
realize their autonomy., no race should be subservient to another. On human autonomy, Kant

MAYA  MONUMENTS     128  
 

philosopher expands “Humans have to take responsibility for themselves and not give up to the
direction of another.”

The discussion of significance may be rooted in personal motivation, a vital life

experience, or a philosophical belief.

The debate of importance may address a social, cultural, or political issue (for example, a

Figure  65a  Monzon  A.  Content  of  a  Project  City,  Airbrush  Ink,  Photo  
Monzon,  2015  

focus on social equity in postcolonial studies, or a focus on the
changing nature of communication in new media studies.)The discussion of significance

may address issues in the forms and strategies of contemporary visual art (for example, a focus
on the viewer’s interaction with the art as addressed in theories of installation art.) the discussion
of significance should include consideration of readings in a discipline related to the content of
the project.

PROCESS
The Process is the review of the development of the ideas in my work. I will discuss
materials and working technique. Mention the tools, the obstacles and discoveries I encountered.
While working with materials, tools, and procedures. I have to consider if the positive and
negative spaces are balanced to create an equilibrium design of form.77

77 Wilkins, A. (2002). Playing with POSITIVE and NEGATIVE Space. Arts & Activities, 132(1), 50. Retrieved from
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MAYA  MONUMENTS     129  
 

Part I consists of five stages that describe different steps of representation. The models
apply to different levels of representation, as well as to different text genres. Coherence has to
weave together the models concerned coherently.

Coherence depends on being able to connect incoming information with the
representation. If using previous text to link it with

new information

A discussion of the development of the ideas

of your work. My Professor Edward Gillum tells me
that we must consider the work an artist does in the
studio to be the main form of personal research
artists conduct. As a methodology, the exploration of

our research is not limited.
by methods, we assemble to create

the production of an art piece. "The materials we
used, the investigations we undertake, the concepts

we explore, the substances we mix, the materials we
explore, the theories we implement do our work
research." (Gillum, 2018) The art process in itself is

a significant form of project research. In seeking to

create a clear and truthful meaning, we search to

67  Monzon  A.  Applying  hardener  resin  with  a  brush  .   establish our symbols of communication and
after  show,  making  statues  harder  for  transfer methods. I work on my advanced technique with

various types of cement epoxies, fiberglass, art resins, and clay. It is all Research of product

flexibility, hydration, thermos conductivity and extenuates, how different substances bind, and
keep clay and types of cement bodies together by epoxies and art adhesive resins. and academia.
The other method is the physical execution of the work, the manifestation of a sculptural piece in

three-dimensional reality. I need help to carry through and finish what I began, not only by the
sculptures' Project activity report, documented with professional images of photography. I

needed to produce a high-resolution digital book that captures the detail of symbols at work.
Final Project Activity Report prints for my committee, and I need to send in the future to request
Museums to exhibit my sculptures to my committee. Research of the work will not be successful

MAYA  MONUMENTS     130  
 

if the methodology does not match My technique is always evolving at the callings of my spirit

or my mind. A discussion of the obstacles and discoveries encountered in working with

materials, tools, and processes. The original Mayan the quality of the production. I am over my

head with all these aspects financially, and I need collaboration in the form of funds from

Research Grant to finalize My Project Activity production.

Last but not list, I was involved in an accident that sends me to Clovis Community

Hospital therapy for 14 months. It delayed my Graduation, plus most of my big statues had to be

rebuilt lighter. To finish them became very difficult. I want to do the best I can to represent the

Art Department and Fresno State: but it is a noble undertaking, and I need help to buy more

supplies. My work has attracted attention because of its size. Still, I have to pay storage from

now on after I graduate this December, please help culminate Project Activity successfully,

manifesting the excellence you and Project deserve. I also need to print book of Project Activity

for my Committee, images, and print, plus finish Rhetorical Research of Mayan Art which is

very involved

Monuments are alive in meaning. There is parallelism synchronicity in cultural

paradigms. Like the old versus the new, the evil versus the sacred, the big world to the one

below. It is incredibly involved in in-depth research I could not have accomplished without all

classes taken at Fresno State Aer Department.

The demographic area of my project research got smaller every year, and, finally, it took me

back. It was growing, taking force in my art subconsciously until I awoke in my creative vision

dreams of thundering Antigua, the first city of America. I retold my son if he did the Mayan
Glyph.78 od death, the sky would break lose and send us down a present, there would be no room

to receive, and so it will. Lino did do it and let me take a photo. I realized when I wrote my artist

statement and showed description home and found the all along, I was building the history of my

people, where my family lives in the Midwestern high lands. Guatemala, where the Kiche lives,

they wrote the Popol Vuh and are those characters that I have built all along, my heritage,
changing nature of communication. 79

78 Woodruff, J. M. (2011). Ma(R)King Popol Vuh. Romance Notes

 
79 Skeen, I. (2007). Look Close, See Far: A Cultural Portrait of the Maya. Library Journal, 132(18), 66. Retrieved from
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MAYA  MONUMENTS     131  
 

DESCRIPTION OF THE WORK
The artwork takes place in space, "Space includes the background, foreground and

middle ground, and refers to the distances or areas around and between things. There are two

kinds of or within an object." Mayan Art is built the space: negative space and positive space.

Negative space is the area in between, around, though,

Figure  69  Monzon  A,  Video  del  Sol,  Photo  Niclaus  Cook.  2019  

same way when you construct a three-dimensional piece is more natural to exemplify the
concepts of background and foreground, I believe that each space is an expression of the three
views of the world, above being the foreground and below being under the ground. note
“A fundamental part of art is learning to see things differently. Most students that I have taught
had no idea that there was more than one kind of space.” 80“By introducing students to this
concept, we teach them to begin looking at things in an alternate fashion. It is a step toward more
complex ideas and also teaches them to observe the world around them in a different way."81
Practice idea of deconstructing space before students and people, in general, can learn the
concept of deconstructing symbols or separating meaning or intentions. I like to compare the

80    
81 T., & De Baessa, Y. (2006). The Influence of Mayan Education module School Students in Guatemala. Cultural Diversity &
Ethnic Minority Psychology, https://doi-org.hmlproxy.lib.csufresno.edu/10.1037/1099-9809.12.4.603Quote6

MAYA  MONUMENTS     132  
 

idea of space to evaluate my creation The high fired work is also fired in different stages, first

comes the drying of the piece, then the bisque and finally the last

high fire stage that vitalizes clay to make it last to posterity.

Arts and Humanities Communication Specialist Benjamin Kirk82 and Fresno State Arts
and Design83 Graduate Studios Gallery 84Technician and Curator Chris Lopez.

We create by thought. First, we start with an idea taking hold of our mind, then second,

we execute it in stages, each time fortifying the part of the work until third we reach the high

fire. Coming into high-fire temperatures, we grow to respect the piece. Since respect for fire is

inherent in our human genetics. Most of the work is high fired. The big statues are made with a

process I discovered. They are heavy, so they have wheels to be moved safely.

The four main statues, because of their size and weight, had to be broken and

reconstructed. They were double the weight, and I was injured in an accident on the highway and

could not handle them. I also thought they were too heavy for the wood dollies. They can carry

up to a thousand pounds, but the statues lived on them permanently, and the five elements that

make everything living on our planet.

The big statues are made with a different process, which I discovered. The description is

they are heavy, so they have wheels to be moved safely. Most of the work is high fired. I created

a process that allowed me to build in huge terms; they are heavy, so they have wheels to be

moved safely. I adapt symbols of Mayan polychrome plates and stelae, I learned in the past, to

the three- dimensional clay compositions.

Creating for me is like an adventure, I never know what comes next, until I do it. Mayan

Monuments ceramic sculptures are the result of many years of artistic manipulation of Mayan

Art through the exploration of design to make two-dimensional compositions applying fire to

leather in Pyrographic 85leather burnings.

82 https://fresnostatecah.com/2019/09/30/grad-student-anabella-monzon-to-show-mayan-monuments-at-m-street-during-arthop/
83 http://www.fresnostate.edu/artshum/artanddesign/m-street.html

84 https://www.yourcentralvalley.com/news/local-news/fresno-state-art-grad-student-showcases-mayan-inspired-art-that-
transcends-time-and-place/

85 Oostendorp, H. van, & Goldman, S. R. (1999). The Construction of Mental Representations During Reading. Mahwah, N.J.:
Psychology Press

MAYA  MONUMENTS     133  
 

The Sculpture pieces that are big in size measure about 7' feet and weigh between two
hundred and fifty to four hundred pounds of clay, they are built on wheels on top of furniture

dollies, to be moved. The statues that are gods of the Underworld are like 6 feet. The more

prominent figures of Axis Mundo Higher World were three times heavier. I had to break three

and rebuild them because they were over 700 pounds of clay weight average, and I was having
trouble moving them. I thought they might break the base dolly in time. The expense and effort

of rebuilding the work were worse more. Than building them anew. Monumental sculptures on

Figure  72  Monzon  A.  Popol  Vuh,  LowerWorld  Kingdom  of  the  nine  evils,  Xibalba  my  studio  left,  2019.,  

MAYA  MONUMENTS     134  
 
Axis Mundo are more prominent

Figure  73  Monzon  Anchoring  added  a  layer  of  types  of  cement  to  the  bottom  of  the  piece.  after  show,  2019.,  

Figure  74  Monzon  A.  Furniture  Wheel  on  bottom  adding  cement,  Photo  Monzon,  After  Show  2019  

MAYA  MONUMENTS     135  
 

than underworld ones; their
size is from five to eight
feet tall, and they weigh

from 300 to 450 pounds.
They are clay with an

armature of wood and metal

poles, and wire screens on

mixed cement covered with

all cement and other types

Figure  75  Monzon  A.  teaching  some  kids  that  came  to  my  show  during  the  weekend of art resins, adhesives,
fiberglass epoxies  resistance

art resins tints. I like to high fire some new work as soon as the kiln is installed, so I can donate

to Fresno State pieces that are fired. When we were open last summer for ArtHops I taught every

youth I saw my medium and my secrets, I showed them all my products and encouraged them to
build with clay. Art can change their lives for the best and bring them to Fresno State to get

Figure  76  Monzon  A,  Application  art  resins  e  hardener.  Nov  2019  

MAYA  MONUMENTS     136  
 
educated in Art. After my show, I coated all my big
pieces with resins applied with a brush to harden
coils,

In Mayan Monuments, the viewer can see the
influential icons, which I use to confer meaning. I
can introduce purposeful new adaptation to old
Mayan Symbols.

Mayan linguistics is not standard to
alphabetic order. Quiche Mayan language is written
phonetically and through hieroglyphics, which writes
ideas by root graphs.

Translations communicate pre-Colombian
and postcolonial linguistics interpretations.

Knowing Quiche Mayan language is written
phonetically helped decipher the meaning of

Figure  77  Monzon  A  Todosantos  Victim,  Photo  Monzon  

2019 hieroglyphs. The root is in the middle of the word
and stays the same, different forms are added to the

beginning and end to form different words86

First, a glyph is a symbol. A symbol is something that represents something else, like an idea, a
concept, or a belief.
At first, experts believed Maya glyphs represented only words, concepts, verbs, numbers, and days.
Later they thought they represented sounds.

The Popol Vugh was shared by oral tradition until Ximenes translated it from Kiche.

86 Sharon-Zisser, S. (2018). Art as a subjective solution: a Lacanian theory of art therapy. International Journal of Art Therapy:
Inscape, 23(1), 2–13. https://doi-org.hmlproxy.lib.csufresno.edu/10.1080/17454832.2017.1324884Carman, J. (2006).

 
 
 

MAYA  MONUMENTS     137  
 

EVALUATION
I used observations from criticism theory on Art history to evaluate the aspect of my art
production, plus my willingness. Donald Preziosi published an Anthology87 in Oxford University

on 1988, it was an Art History criticism "And though this was pulling and stretching of a term,
such as the sculpture is overtly performed in the name of vanguard aesthetics—the ideology of
the new—its secret message is that of historicism. 88 That which is New becomes familiar when
it evolves gradually from

the past."
Mayan Monuments have
the characteristics of
vanguard aesthetics

because sculptures are
overly worked, presenting
the ideology of the new.
Previously I said, "the

meaning of artist work is
in the relationships of his
art to the community."
To evaluate the success

of my project activity, I
have to ask myself if I
was able to familiarize
people with Mayan

symbols laid all over Figure  78  Monzon  A.  Pyrographs  on  leather.  2018

monumental pyramids and

stelae in Mesoamerica, which represented in Popol Vuh. The Maya were Vanguards, promoting

the ideology of the new because they absorbed Pre-Colombian symbols into post-Colombian

icons, preserving the language and the story. In Postcolonial times the language of symbols

87  https://sites.google.com/a/mail.fresnostate.edu/ci149-­‐anabella-­‐monzon/  
88 Hamel-Schwulst, M., & Hoffert, B. (1998). Book reviews: Arts & humanities. Library Journal, 123(9), 82. Retrieved from

http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=616106&site=ehost-live
 

MAYA  MONUMENTS     138  
 

became hybrid because of the assimilation of Spanish and Indian culture mixed. Art into new
approaches in Postcolonial

Figure  79    Monzon  A.  Historicism  News.  2016 Figure  79a  Monzon  A.  Vanguardism,  2019  

times, from two thousand years before Christ to now. Mayan art keeps on stretching aesthetics to
bring forth historicism that gradually evolves89 from the past.

I am a Mayan Indian artist, persevering in the same quest as my ancestors. Vanguard90
was the name of the elementary school I attended in Guatemala, and students marched through
the streets on the day of Independence. Could it be my life is destined to build a bridge between
the old and the new? The past and the present? My art to bridge Mesoamerican history?

In Belga Catholic Private School in Guatemala,91 Principal Mother Lucia always told me,
"Anabella do not build a wall between you and people, your brethren, build bridges instead.”

 
90  http://vanguardiajuvenil.edu.gt/web/
91 https://www.colegiobelga.edu.gt/

MAYA  MONUMENTS     139  
 

Afterwards, I went to high school, in Liceo Frances92s and Saint Joseph’s College93 in Canada. I

dream from the southern border to the northern border of Mesoamerica; my art reaches breaking

boundaries of space and time. Joining people together through the pursuit of symbolic

communication. went to elementary school

“And though this was pulling and stretching of a term such as the sculpture is overtly performed

in the name of vanguard aesthetics —the ideology of the new—its secret message is that of

historicism. The forms of the past are comfortable and familiar since they evolved gradually

from the my past.”94 I was seeimg Mayan hieroglyphs and designs in weavings and art since I

was born.

Figure  80  Monzon  A.  Classical  Mayan  Profile  of  Yaxchilan  burning.  News  Paper  article.  Guatemala

I brought letter burning in my suitcase when I first came to this country. This was one of them.

92  https://www.classmates.com/places/school/St-­‐Josephs-­‐College-­‐School-­‐for-­‐Girls/20962371  
93  https://www.aquienguate.com/perfil/liceo-­‐frances  
94  APA  (American  Psychological  Assoc.  Pettigrew,  D.,  &  Raffoul,  F.,1996).  Disseminating  Lacan.  Albany,  NY:  State  
University  of  New  York  Press.  

MAYA  MONUMENTS     140  
 

“Nowadays, is subjective what we call sculpture” (The Art of Art History: A Critical Anthology.
Oxford University Press,) even tunnels in the earth or subterranean passages can be sculptures.

According to Vanguard aesthetics, my sculpture has historical value because, also though it is

new, it becomes familiar because it has evolved from an ancient culture that lived in this area.

When I familiarize people in Fresno to Mayan sculpture, I am teaching the history of us
everything in it. His purpose here is to understand and reveal Mayan culture, especially the

Mayan impression that the world and everything in it is “pervasively sentient.” roots. I am

Figure  10a  Monzon  A.  My  sculptures  in  Kiln,  bisque  cookware.

introducing as new, the old forms of this area’s heritage. Is my project assiduous? It was
painstakingly detailed, meticulous in the replication of motifs, but in the accurate rigorous
reproduction of Mayan work laid the secret to Maya Monuments. Implementation of familiar
forms nest in the subconscious mind where they breed new Mayan perception that the world

MAYA  MONUMENTS     141  
 

is95 endowed with spirit. In the evaluation, I seek to see if I fulfilled the purpose of sharing the

vision of the Maya to perceive everything alive or sentient

sense made people familiar with meaning and folklore that is old but new. Reading a new form

of language, which represent ideas. This new form of communication develops new pathways in

the brain. This installation unseen in Fresno before, which is beneficial to enrich the art language

dialect of the community.

Figure 80b Monzon A. Posetr Pyrographics I sold to It’s The Art Company. Indianapolis.

95Carman, J. (2006). The Latin American Art Song: A Critical Anthology and Interpretive Guide for Singers. Journal of Singing,
63(2), 231–232. Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=23010762&site=ehost-liveThe Art
of Art Sharon-Zisser, S. (2018). Art as subjective solution: a Lacanian theory of art therapy. International Journal of Art Therapy:
Inscape, 23(1), 2–13. https://doi-org.hmlproxy.lib.csufresno.edu/10.1080/17454832.2017.1324884Carman, J. (2006).History: A
Critical Anthology. Oxford University Press, 1998.

MAYA  MONUMENTS     142  
 

CONCLUSION

Coming to an end, I need to answer some questions to see if I met my goals according to

my project descriptions. So, the question is, are my Project outcomes Logic? Logic is a science

that studies the principles of correct reasoning.

An example of Logic is deducing if two truths imply the third one, as evident. Logic

allows an excellent conclusion to my arguments. In this case, if my project description meets

proper explanations, the result is a functional evaluation. I will come up with a solid conclusion

and a logical appreciation of my Art 298 Project activity.

To accomplish that, I need to ask myself if the symbolic explanations, I developed to

fulfill my objective. My goal is to understand one another through art and culture by sharing

each other symbols through art. I got to share a language of symbols that reinforce beliefs in our

human unity with a God of Light that gives

us Truth and sustains nature in harmony.

Is the outcome of my project united? I think

yes because the Mayan Monuments

determine answers for critical questions of

art history. Besides, bringing a community

gathering. Also, the press spread the news

and ideation behind the creation of the

sculptures to a broader audience. Thus,

creating successful dissemination of

meanings and making Fresno State
University proud.96

I got a Grant from Bilingual Services in

Kansas City and printed and disseminated a

book with Mayan illustrations and myth . I

printed it in Ink Works in Chicago where I

had a show right by 18th street, no less!

Figure  80c  Chicago  Highrise  Leather  Burning  at  Ink  works  exhibit

96  Andrews, S. (2005). Casas Grandes and the Ceramic Art of the Ancient Southwest. Library Journal,  

MAYA  MONUMENTS     143  
 

Figure  81c  Benjamin  Kirk  and  Chris  Lopez  2019  M  street                                      Figure  81d  Artist  Professor    Nick  Potter  M  street                                                                  

Complex,  Graduate        Studios,  2019.   Complex,  Graduate        Studios,  2019.  

My conclusion is that providing an inclusive studio art and Art in education curriculum
whose methods of teaching incorporate a holistic approach to making Art in formal schooling
settings is a critical challenge facing art educators here in Fresno. I like to reproduce my work at
a smaller scale to bring a traveling holistic exhibit to the school district.

Chris Lopez brought Professional Photographer Niclaus Cook to take the photos, at
Graduate Studios 1419 M street, October 2019, to document Maya Monuments Art Exhibit.
Which reveals and evaluates the exhibition and the monuments as an aesthetic composition that
values space. Some say a picture is worth a thousand words. I think Niclaus Cook did excellent
photos that denotate spaciousness. I got support and assistance with catering for the Show from
San Mar Leasing Properties Manager Lisa Rosas. The statues had authentic iconography from
the Popol Vuh, one of the most influential texts in history and Mayan Art in the area. The work
is aesthetic, and in Mayan style. The art show was inclusive of Gender, because it had male and

MAYA  MONUMENTS     144  
 

female statues, and because the Creators of Humanity in Popol Vuh text are male and female in
an egalitarian realm of creators

Figure  81f  Monzon  A  Lisa  Rosas  Manager  
Kings  View  Living,  2019

concepts of gender roles equality. I conclude show pieces fulfill requisition for academic
gender studies in Universities. In Mayan story of Popol Vuh in Monuments Show, the Creator
of humanity is a couple, so there is a woman included in the creation of men. I declare exhibit
innovative, inclusively influential, because is historically based on academic texts written over
the past centuries and is not discriminatory in bases of gender or identity

I am sharing concepts of art theory about gender roles and supporting Feminism theory
with the disabled elderly at Kings View Manor on the Westside. Senior Manager, Cultural

Liaison LisFiaguRreo  8s1acs  Liissa  aRocscaos m Kinmgso  Vdieawti  nMganoafgecro,  Mmamyae  Mmoonuramteinvtes.  cPhuolttou  Mraolngzoant h 2e01ri9ng celebrations. I
take pictures of residents, develop portraits, and we have an art projects to create posters
that strengthen the identity role of women members in this San Mar property, subsidized
housing facility for the disabled elderly. When I take picture of their Gaze, they develop
subjectivity and break away from cannons that objectivize women in society.

MAYA  MONUMENTS     145  
 

Figure  81g  Kirk  B.  Dean  Slide  presentation  at  Smitty  Camp,  January  2019

 
Figure  81g  Jackson  County  Star,Newspaper,  Artist  in  Residency  at  Highschool,  Murals  of  Mayan  gods  of  Sun  &  Moon.  

MAYA  MONUMENTS     146  
 

MAYA  MONUMENTS     147  
 

I heard from multicultural audiences, familiar people, and unfamiliar ones that they liked the
Mayan sculptures, that they evaluated the show as amazing

Figure  82  October  People  Talk  at  Maya  Monuments  Art  Show.   Figure  82a.  Martinez  Ixchel,  Me  and  Digital  Professor    
Octo  3.  2019   Craig  Polanaski,  October  3,  2019  

I followed art movements, Folklore, modern art, impressionism, symbolism,
deconstruction, postmodernism, and videographer, innovative Hybridity. The forms are hybrid in
the sense that they combine old and new97

When I came to Professor Craig Polanaski I did not even know how to click a computer
mouse, Craig always challenged me by making me independent. He was the First professor that

guided me. I still have to learn from hum, his preciseness.

97 Nelson, R. (2011). Vigilance, expectancy, and noise: Attention in second language lexical learning and memory. Second
Language Research, 27(2), 153–171. https://doi-org.hmlproxy.lib.csufresno.edu/10.1177/0267658310385757

 
 
 
 

MAYA  MONUMENTS     148  
 

Craig is the Art Department at Fresno City College. He came to my show and challenged me to
strengthen my statues for transfer. If I had not broken a coil, in front of him I had not realized

that some were still fragile at loops and they needed to be stronger to transfer.

Figure  81a  Monzon  A,  Tinaja  in  Center,  Photo  Monzon,   Figure  81b  Monzon  A.,  Tinaja  y  Gracie,  Photo  Monzon  2017  

2019  

I remain silent awe to what the creator has made through my hands. All praise be to
God's light.

In Mayan Culture Animals are helpers. Guides and friends. My cat Gracie is my friend.
Some people do not believe in Archangels, I do I believe there is Four that travel with God in His
aspect of Absolute.

In the North is angel Michael, he rules wisdom. In the East is Uriel he is Intuition. In the
South there is Angel Gabriel he rules matter of facts in worldly life, in the West is Raphael the

MAYA  MONUMENTS     149  
 

Angel of Courage. I drew them on cot bed materials from Village of Hope 98Paul Stack gave
them to me.

Figure  82c  Monzon  A.  Archangel   FiguGFirAgeuB  8rR2eIEb  8L  M2do  Mnzoonnz  oAn.   A Ar.c  Ahracnhgaenl g ReAl P  HAEL
FigGuAreB  R8I2EaL  Monzon  A.  Archangel  URIEL

98 https://poverellohouse.org/what-we-do/shelter