MAYA MONUMENTS ANABELLA MONZON IN RETROSPECT

MAYA  MONUMENTS     50  
 

can learn a few symbols, we can break down the meaning, because the Mayan Language repeats

with different beginnings or endings but leaving the middle root untouched

In other words, the same symbols appear regularly. Still, the additions change the

definitions, is not as complicated as it looks when broken down into parts. It is like a statue is

built-in pieces. Mayan word are built with phonetic syllabus .

“The Mayan Cross is the human embodiment of the Tree of Life, also known as the

World Tree. The four points of the cross are the same as the four directions. The Maya refer to

these points as the Heart of the Heaven (head), Heart of the Earth (feet), Heart of the Wind (right
arm), and Heart of the Water (left arm). The human heart is in the center”25 (Perex C. 2007).

The Axis of Cardinal Cross Statues in the main gallery space are the Universal Beam

Statues, coming from the Creator of Light above. These four figures are the body of the Creator
of the sky and Earth. In the front entrance room are Underworld main gods in Popol Vuh.26 Here

Figure  28c  Monzon  A.    The  owl  and  the  Mask,  Four  Winds  Vision.  Photo  Monzon,  2019

stands Ixquic mother of Hero Twins, Xmucane & Xpiayoc, grandparents to Hero Twins, a
creator god couple which helped create the first humans from corn, as well. The Father is One

25  http://www.mayancross.com/reference-­‐glossary-­‐mayan-­‐cross  
26  Woodruff, J. M. (2011). Ma(R)King Popol Vuh. Romance Notes
trievedhttp://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=44811085&site=ehost-live
 
 

MAYA  MONUMENTS     51  
 

Hunaphu, who was killed by Lords of Xibalba. The name of the Hero Twins is Hunaphu and
Ixbalanque.27 I learned their names since I was a child.

The Underworld, Metnal, is the kingdom of the nine evils. It is not a place full of ghosts and

demons, like hell. It is a place where death gods want to play ball and invite the living to

come down. The creator god moves the sun across the sky to hide it in the Underworld at
night. There are mediators between the various levels in the Maya cosmos.

27  Woodruff, J. M. (2011). Ma(R)King Popol Vuh. Romance Notes
28 http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=44811085&site=ehost-live
 

MAYA  MONUMENTS     52  
 

Darkness and Light are bridged together as parts of one mediating balance duality. Night
needs Light as light needs darkness; this coexistence of duality keeps creation in balance. In the

Figure  30  Monzon  A.  Underworld  Studio  1,  2019.  Photo  Niclaus  Cook.

ocean wave, the sea rises, only as much as it succumbs. I always say “from darkness to Light,”28
which is the best motto whenever facing difficulties or evil intent.

28 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, 3(3), 185–205. https://doi-
org.hmlproxy.lib.csufresno.edu/10.1080/15363750490479458

MAYA  MONUMENTS     53  
 

There are four significant statues in studio one, represented are Xmucane and Xpiayoc,
god's couple. The grandparents of the lower world creatures are Grandmother of Light and
Bearer Grandfather. Ixquic, the Mayan goddess of the waning moon, conceived the hero twins
Hunaphu and Ixbalanque. The Lords of the Underworld invite Hero Twins to play ball in the
Underworld, but the Lords wanted to trick them and kill them, as they murdered their fathers.

The Twins come down and pass all the trials. In the last test, the Hero Twins sacrifice
themselves and bring themselves back to life. The Lords of Xibalba are excited and want to play
the game. They are slaughtered but not resurrected. They are left dead by the Hero Twins, who
could bring them back to life if they chose to. They did not use their powers. That is how they
win the game and war with Underworld, who killed the parents. The Hero Twins come alive,
made with fruits. The hieroglyphs represent ideas or theories, proposed authors. (Tajfel,1981).29

Figure  31  Monzon  A.  Tohil  God  of  sunsets  at  back  door  Graduate  Studios.  Photo  Monzon  2019  
29 Woodruff, J. M. (2011). Ma(R)King Popol Vuh. Romance

MAYA  MONUMENTS     54  
 

Figure  31a  Monzon  A  Ixquic  a  goddess  mother  Hero  Twins.  Photo  Niclaus  Cook,  2019.

MAYA  MONUMENTS     55  
 

Figure  32  Monzon  A.  Underworld  Room  Hero  Twins,  1,  2019.  Photo    Niclaus  Cook  

MAYA  MONUMENTS     56  
 

Figure  32a  Monzon  A.  Underworld  Room  Xmucane,  2019.  Photo    Niclaus  Cook  

MAYA  MONUMENTS     57  
 
T

Figure  32b  Monzon  A.  Underworld  Room  Xpiacoc,  2019.  Photo  Niclaus  Cook  

MAYA  MONUMENTS     58  
 

Quote “adolescents live in an ethnically mixed environment, and they have the
opportunity to develop strong ethnic identities.” (Turner, 1986) Exposing students to Mayan Art

helps expand multicultural ethnic views on identity. The schools in Fresno can benefit teaching

historic arts to students, and Fresno State graduate students want to help. Artist in Residencies

sends Artist into the classroom to help teachers and create artworks. I develop programming to
help teachers build art cultural activities and bilingual publications before. I like to help Fresno

State Humanities and Arts Departments by donating my sculpture to raise funds for Day of

Giving to hire Graduates to go into the schools, AIE coordinated by Fresno Unified School

District Visual Arts.
Master’s in art Graduate students run out of Financial Aid help, in their last year to

Graduation, when they are most in need of Funds. That is when they are finishing their Art 298

Project, they need support, and what better way than to send them to schools to work with kids?

And get paid. My sculptures could be
in Auctions or raffles to raise funds for

alternative programs. I want to learn

more about demographics and

education data in Fresno.

Figure  33  Catharine  L.  Aujero,  Visual  and  Performing  Arts,  Fresno   I need to get a Leadership in
Unified  School  District,  Gallery  25,  Tape-­‐on  Mural,  Arthop.  Dec.  2019.     Education Pd. D. so I can procure
informed art grants to sponsor
P   hoto programs that benefit this community.
We can create relationships between
Fresno State Art students, School
District, and Fresno Arts Council.
That way, when we have Graduate
Shows, there are funds to help students
who need it. Fresno Unified School
District can benefit multisystem youth,
which is the youth in trouble, and the

MAYA  MONUMENTS     59  
 

general student population, engaging them in visual and performing arts projects.
“Transformation denotes change, moving from one perspective to another, and change most
often takes place in communities where people interact with and inspire one another.”30

Figure  33a,b,  c  and  d  Granted  Murals  Schools  Kansas  City  Missouri  Arts  Commission  Grants

30 Rodriguez, F. (2018). Children in Crisis: Maya Identity in Guatemalan Children’s Drawings. Studies in Art
Education, https://doi-org.hmlproxy.lib.csufresno.edu/10.1080/00393541.2018.1509262

 

MAYA  MONUMENTS     60  
 

                   Figure  34a  Monzon  A.  Black  People  Mural,  2002                        Figure  34a  Monzon  A.  Yellow  People  Mural,  2002              
 

Figure  34b  Red  People  Mural  by  Elementary  kids     Figure  34c  White  people  Mural  by  Elementary  kids  

Artist in Residencies Sponsored by

Figure 34e Seattle Arts Commission SAC in Seattle Figures 34e Municipal Arts Commission in Kansas City

MAYA  MONUMENTS     61  
 

INFLUENCES

The primary influence in my life is the Creator,

Sole God Hunab Ku. Then my son. The

representation of Hunab Ku, the vinyl in the center

of the statues circle in my Mayan Monuments

Show, represents my son. It is his influence on my
art. Lino Peña Martinez, 31 influenced me by

tattooing the Hunab Ku sign on his front side, to

remind himself with this sign to become

independent and rely on God, right before my show.

I left his piece of ceramic in the middle of a smaller

wheel of medicine with my Mayan Archangels in

my studio, so he could get a job to help multisystem

youth in foster care. Lino's presence was manifested

in Master Show by this sign. He is a Santa Barbara

Figure  35,  Ixchel  Martinez,  Portrait,  2019 Figure  34  LINO  Martinez,  2019

Graduate who works in the House of
Representatives, WA DC

Ixchel is my daughter and I share the same
dreams since she was small; we have a powerful
shaman connection. She is a photographer who
took the only videos of the Show I had to share in
social media. She traveled from Los Angeles to be
part of my Show and bring flowers for the dining
room. Her endurance, determination, and tenacity
motivate me always. She is a UC Davis
Psychology BS in human development, BA in
psychology, and an MSW from Universities of
Davis and USC. She works as a family therapist in

31  https://chronicleofsocialchange.org/analysis/child-welfare-ideas-from-the-experts-9-federal-attention-on-crossover-
youth/36748?fbclid=IwAR3RKbrNsWZiU1Y22YU2aZmidzxKpGB8j5NW7FOy4QFPLqE16zLvOlroEIE

MAYA  MONUMENTS     62  
 

LA, California. Ixchel always believed in me and
nurture me through the hard times, guiding me with
inspiration and hope for the future. She and I suffered

the worst hardships when we separated from her
father. She is the one that insisted I come from Seattle

to California. As a little girl, she was my strength until

I found revival. I could not have made it without her.

My other significant influence is my firstborn child,
Uxmal’s Consultant Mahishi Peña Marroquin. She

has enriched the life of one million kids with
Educational Film Festivals that promote ethical

values and stop child abuse. She oversaw logistics for
the visibility of the Second. Cooperative Conference

between the European Union and Guatemala for the

Process of Peace. Now, she has her own business Figure  35,  Mahishi  Marroquin.  Photo  Marroquin,2019
‘Uxmal Consultant and is doing leather burnings.

She did a portrait of Ixchel, her sister, and
she made a medallion of the four directions on her
neck, and the four colors of the Mayan wheel are on
her eye. We live by these concepts; the four of us
influence each other because each one of us has the
directions of the Cardinal Cross in our blood. Lino is
North, Mahishi is South, Ixchel is West, and I am
East, according to our elements by zodiac, and our
temperament.

The closest medicine wheel around me is my
family. In our family genealogical tree, this is the

Figure  36,  Ixchel,  Leather  burning  by  Mahishi.  
Photo.  Marroquin    

MAYA  MONUMENTS     63  
 

first time all family members are went to College. My parents only had a high school degree.
Historically we can say Mayan culture is hegemonic; because of their frequent use of

masks. In many predominant societies, the influence of a dominant class is reflected by rules that

establish the normative values in the culture. The symbols of communication construct an elitist

identity.

Figure  37  Monzon  A.    Foundry  with  Edward  Gillum.  Photo  Niclaus  Cook,  2019.  

Art styles depict social structure. The nobles determine society’s rules, not the
commoners. Only the elite can afford to travel to ceremonial sites, where power dispenses
through vision dreams. The lowest class of workers do not get any power allocated to them,
because they cannot afford to travel there. In the California basin, as well as Pueblos Quadrant
and Mesoamerica,32 these celebration gatherings take place inaugural occasions. Peregrination to

32 Gaines, J. H. (2007). An Indelible Imprint of Literacy: The Olmec and African Presence in Pre-Columbian America.
International Journal of Learning, 14(4), 1–83 https://doi-org.hmlproxy.lib.csufresno.edu/10.18848/1447-
9494/CGP/v14i04/58603

MAYA  MONUMENTS     64  
 

these holy caves and pyramids defines structures of power. Women have an equal place in

Mayan society, they are noted to participate in economic, governmental and rituals activities.

Lineage determines the position in society, not warfare. “I am reminded of an axiom

attributed to the ancient Athenian philosopher Plato, who once remarked, and I’ll paraphrase the

eloquent refrain,”(Von, 1992) “we can forgive a child who is afraid of the dark, but it is another
thing for men to be afraid of the light” (Wuthenau , 1992).33 The worship of the Light (thunders)

in Mayan Mythology made them powerful contestants for all other tribes afraid of the Light

(that discharges from the sky.) The ruler kings ordained the state. Cultural symbols not set by

arbitrary emotion, but they follow an established myth.

Feminism is another movement influencing my Art. I did two ceramics pieces, signifying

the equity of sexual power in society. I recreated balance between powerful open sexual forms,

male and female. When they looked too obvious, I concealed them, following the norm of taboo

sexual repression in western formative society (where I learned my values). In Africa and

primitive cultures, sexuality is freer, because the body is less covered. Sexual freedom today is

partially described as polyamorous (consensual non-monogamy). Mayan Culture represent

women uncovered breasts without malice because nudity is considered natural.

In art rhetoric, the psychoanalytic theory of Jacques Lacan is my most important
influence. His statement is "the organic inner self feels lost because it has learned language and
culture from outside self, from society, and it feels without its language, borrowing signs for
communication" (Lacan, 1960)."

But Lacan was also actively engaged with the arts and the leading artists of his time, referring to
the surrealism of André Breton and Salvador Dali as the 'new relay station' for his work"
(Roudinesco,1990). I interpret the meanings of subconscious signs that help fill the empty ness
within us, by expressing Art the void within; that is why Lacan saw this art movement of
surrealism like a relay station.

To express new ideas, we can use old signs, or we can bring forth old ideas with new symbols.
We can develop our way of communication. The Lacanian theory influenced me the most

33 https://doi-org.hmlproxy.lib.csufresno.edu/10.18848/1447-9494/CGP/v14i04/58603

MAYA  MONUMENTS     65  
 

because since I was a child, I interpret forms. As a young baby, I have clear memories of
observing objects-symbols coming out of people's mouths when they spoke, rather than words. I

was always interested in symbols. Words that are forms instead of letters seem more familiar to

me. I was born with the aptitude to think symbolically. Lacan influences me because I use my

unconscious to manifest form. Salvador Dali and André Breton always influenced my art
because they were into the exploration of the psyche. To find one's path is necessary to find one's

meaning. I believe it resides in our unconscious because, in that world, time measure is different.

Figure  39  Monzon  A.  Tinaja,  Photo  Monzon,  2017   Figure  40  Monzon  A.  A  Lord  of  surrealism.  Photo  Monzon  2019.  

Structuralism recommends, “meaning is imperative, for oneself to direct one’s destiny.
Instead of being vicariously embedded to social pressure, that dictates and exemplifies canons of
conduct imposed to annihilate individuality — structuralism” 34 (Strauss,1977).

To create artistic expression is to have hope. To direct one’s destiny is necessary to share
oneself through creative expertise. The freedom to interpret creativity allows the viewer to

34  Lumbrecht, W. (1976). Levi-Strauss (Book Review). Library Journal, 101(22), 2589.
 

MAYA  MONUMENTS     66  
 

develop subjectivity. “The signified can be conceptualized differently according to languages
and culture, rendering the sign as arbitrary in its totality” (Strauss,1976).

Subsequently, I have the freedom to change the signification or meaning of signs. In

short, your sublime could be my horrendous, and your atrocious could be your aesthetic. The

way to develop subjectivity is to be objective first. Everyone chooses or reacts in a visceral or
mental kind of way, to what they see, “and the mind twists because of attachment to Physicality

(Martinez, 2018). Attachment, in other words, blinds our views.

Tonight, I discovered that we could, and will respond to action symbols, as well as static

graphic symbols. What I mean is we react to people’s behavior signs or gestures. We live
nowadays following the carpenter world hypotheses, those raised in an environment shaped by

carpenters or rectangular forms come up with more square conceptions (like square buildings.)

Primitive culture forms are more organic; the structures they build are circular. They see

in nature the shape of the sun, the moon, and their body organs, which are not squared. The
arrangements of symbols have a hierarchy in Mayan poles. The significant place for a symbol is

on top, and the bottom means bad (low). The value of a logo (emblem) can alter if we turn it

around. Graphic representation is relative to placing of the form. If we elongate a square, it

becomes a diamond. A cross places in the four directions of a diamond, which is inside the circle

Figure  31  Monzon  A.  Contemporary  Paintind,  Photo  Monzon  2013.

of Medicine. I mean Graphic illustration representation is guided by placement of forms. You

add an idea here, as a layer, move another one there, as a sublayer, and come up with a new

composition, a thought, or idea-form. The Cross of the four Cardinal directions is inside the

MAYA  MONUMENTS     67  
 

Figure  42  Monzon  A.  Guerra.  Photo  Monzon,  2019 Figure  43  Monzon  A.  Elefante.  Photo  Monzon  2019  

Native Wheel. In other words, a symbol can

change meaning by adding forms or changing placement, the same as the Mayan language does.

Graphic three-dimensional representation illustrates how ideas evolve. You add an idea here,

move another one there, and come up with a new thought, a new idea-form. If you change

beliefs, you arrive at different conclusions, ideas have at different premises. If we alter the order,

we change the reasoning. Time and place also change order.

There are no absolute values in the relative world of nature. Everything changes through

time and space (Yogananda, 1948). Lino Martinez, my role model, always says “ambiguity is my

best friend because in saying maybe I say yes, and I say no” Values and ethics are also

embedded as a pattern of logic. But beyond order is feeling. The set of precept premises

MAYA  MONUMENTS     68  
 

determines axioms of Universal truth principles(a theme of Mayan Art). 35 The Mayan had

ideation that the gods were benevolent, and they wanted good things for their creation.

I know Mayan words to be square glyphs ideograms. These words have a beginning,

middle, and end glyph syllables. If you change the beginning and ending blocks, the word

assumes a different meaning.

That is why I compare the Mayan Language to Logic because they have both three parts,

two premises, and a conclusion. Languages are like diagrams made up of words, and they define

styles.

When one style dies, also, another technique is born. The University of Texas Journal

states, "Symbolic appreciations of Art and Poetry remains fresh." (Carvin,1983). Despite bounds

about critical demise and methods of expression, "some persist, and some pass away or

deteriorate, the new stay news" (Caws, 1983). Correct creative styles and forms do not become

old. They stay new. Like Mayan art, it never loses its vitality.

I see parallelism of form between symbols in Mayan Art, Language, and thought because

words that express ideas in an alphabet are the same as forms that show a Language by symbols

of phonetic order. Poetry symbols can be spontaneous or rigid. Symbolic languages transcend

time and space; some symbols never die. The symbols that stand the passage of time become

Icons. The surrealistic impression is a relative symbol. It is the language of the subconscious

mind, expressed by automatic writing or drawing. An author says, "it is not linked to clock time,

Figure  43a  Monzon  A  MAA  Brochure,  Reciprocity  changes  order  and  meaning.  Photo  Monzon  2016
35 Spitz, Ellen Handler. Art and Psyche: A study in psychoanalysis and aesthetics. Yale University Press, 1985.

MAYA  MONUMENTS     69  
 

events happen in another dimension of time, psychological time.” (Tedlock,1975.)

Figure  44  Martinez  L.  Candles  Burning,  Photo  Martinez  L.  2019  

Tedlock lived in Quiche and learned from the Mayan Shamans, one of them initiated him,
tricking him into becoming a shaman himself without telling him. The Quiche people that wrote
Popol Vuh have a trickster spirit, and they conserve it until now. They like to misbehave. He
goes on to say, "But we later heard that two weeks after our visit to the mountain called nine
Tohil's Place, the man died... Whatever one says at a shrine, so long as incense is still smoking,
or candles are still burning, goes on the record with that mountain and with the Holy
World"(Tedlock,1995.)

Authentic culture encompasses Universal truths. Respect to the elements in nature never
changes. All over the place and in every epoch, men respect fire. Since prehistory, the light
protects men living in caves, and from being eaten by wild animals; it keeps them warm in cold
climate. The Sacred Fire produced smoke. When the smoke blows out, it looks like a fog
descending on the meadows, so Native Americans started using smoke signals to communicate,
smoke signals were their Language. The Wind carries the smoke signals and produces them. The

MAYA  MONUMENTS     70  
 

Wind the Wind is air, represents the vital spirit breath of life. Communication between tribes was
as fluid like air, not static as words on an alphabet; later on, Language became symbols. “Post

Structuralism declares Language cannot express ideas of inner organic Self. “The subjectivity of

self has no symbolic representation that can be socially constructed by the Language of another.”

Thus, an individual need to develop his visual or performing symbology to represent his social
identity. On the other hand, Langer affirms that Language allows us to conceive the intangible,

incorporable things or ideas that constitute our real identity. Art describes our feelings. The

artistic Form is congruent with our perceptions.

Figure  44a  Google  Earth,  My  mural  on  West  side  Kansas  City Figure  44b  my  folk  birds  Mural  in  Public  Library  
Funded  by  Greater  Kansas  City  Hispanic  Arts  Council  Missouri   Funded  by  City  Municipal  Arts  Commission  KCMO  
 

My solution to the chaos in culture is teaching people to read and understand symbols
better so they can have rightful meaning and purposeful ideation, to be able to make the world a
better place, where cultures share Universal Light as truth.

Art is a venue to express their emotions and create art or performances to help troubled
rites of passage in the inner city. As noted earlier, engulfment of an existing structure to enlarge
a construction was a common architectural technique throughout Mesoamerica (Mastache and
Cobean 1989.)

Art engulfs jails of obstruction built in the past, eradicating lack of work. The art of the
Valley brings plants of achievement to heal the homeless, the addict, and the dependent creating
symbolic bridges of fruitful communication.

MAYA  MONUMENTS     71  
 

Figure  44c  Monzon  A,  Itzamna  leaving  its  home  M  street Figure  44d  Monzon  a.,  adding  clay  to  Huracan’s  knees  

Figure  44e  Monzon  A.  Day  of  opening  Maya  Monuments   Figure  44f  Monzon  A.  Studio  2  at  Graduate  Studios,.2018  

MAYA  MONUMENTS     72  
 

Figure  45a  Leather  burnings  in  studio.  2019   Figure  45a  Leather  burnings  in  studio.  2019  

The structure to a feeling is to manifests in words and actions. There is a structure to Art
that reveals in our work. There is a structure we make for ourselves in our lives that should agree
with the Universal structure decreed by destiny and not follow a predetermined norms of others.

Figur45  Monzon  A.  Pyrographic  leather  Burnings,  Photo  Monzon  A.  2019

MAYA  MONUMENTS     73  
 

The mountain is sacred, so that makes the word holy, for the Aphuai Indians, the
smoke is sacred, so it makes the hunt holy. In this sense, each culture defines how holiness is

achieved, in some Indian cultures it comes from smudging with fire smoke.

Holy experiences take the traveler beyond the familiar world. "I am out of habitual senses

of being and a particular type of mythic thinking had begun to seem plausible” (Rhode, 2008)
The texture of my sculptures is like rock finish. It acknowledges the petroglyph

caves in this area of California. Rock art finish is a regional property of this area, which is very

important to our local pride. Like, the Chumash Indian cave paintings in Santa Ynez mountains

near Santa Barbara in California Park. I went to elementary school in Saint Ynez Catholic
Private School in my country, (then later on in Saint Joseph’s College in North Bay, Ontario,

Canada). There is another allegory of hidden meaning. I was attracted to that particular cave’s

ancestral drawings when I started investigating my sculptures’ meaning.

The way of life of a tribe destroys, when the images they create are lost, also when the
image meanings disappear. But as long as the Sacred Fire is burning, the tribe’s purpose is alive.

That is why I do leather burnings, to be close to the sacred fire, the holy smoke brings me

purification, like an ancestral feeling of belonging. It is the same with firing clay, standing by hot

kiln on a cold night. It gives me meanings from a high dimension, where I get inspiration.

Figure  45a  Monzon  A.  Leather  Portrait  of  Papa  Mike.  Photo   Figure  45b  Monzon  A.  Leather  Portrait  of  Papa  Mike.Photo  
Monzon,  2017   Monzon,  2017  

I speak with assertion because my culture taught me sacred fire signification, that is all.

MAYA  MONUMENTS     74  
 

Figure  46a  Founder  Papa  Mike,  Poverello  Family   Figure  46b  Monzon  A.  Chris  Correa  and  Gloria.  Holy  Cross  Center  for  
Women.  Chris  wrote  Grants  and  created  Programs,2006.  
Dining  Room  with  me  and  my  Logo  I  made  him.  

Fresno,  2006.  

Papa Mike from Poverello and Village of Hope Deputy Director of Operations Paul Stack helped
me through hard times, same as Holy Cross Center for Women36, and I volunteer to teach arts
and crafts .
I taught arts to Homeless women . I did art for Saint Agnes Cancer month for Sister Mary.

Figure  46c  Monzon  A.  Wounded  Spirit  Show  Artist  at  Holy  Cross,  2008  
36  https://www.samc.com/location/saint-agnes-holy-cross-center-for-women

MAYA  MONUMENTS     75  
 

Gathering around with other people was a magical experience. Everyone looking at the

fire around a barrel, in cold nights.

I also went to the Rainbow Gathering, where thousands of people met in National parks

.and they also had many campfires with songs and dance in the mountains. I treasure those

memories like happy times of sharing, playing guitar, like we did back in lake Atitlan, before I

left, ith American travelers. There is nothing like it. It is an incredible experience. I first
experience gathering around a fire by Poverello,37 Papa Mike, Women at Holy Cross Center,

show cased Wounded Spirit Show at Margaret Hudson with Photographer Collaborator Cynthia

Manuzack. I donated this painting to Holy Cross and it depicts some of the people around

Poverello, people I knew by name and characteristics. I received tools to comprehend many ideas

Figure  46d  Monzon  A.  Homeless  Picture  of  Area,  2015  

relevant meanings in my studies at Fresno State Arts Department. I describe my art as an
embrace between the past and the new. The antique and the Contemporary. The local and the
Universal, a dream of duality like Creation. Darkness brings me Light, always. I had many years
of preparation to come to understand the importance of community. I participated in leadership
events that showed me the relevance of gathering with other groups. I was a member of the
heritage Performance Tour ensemble once; These Gatherings fed my identity and artistic nature.

When I built sculpture here at Fresno State I discovered new goals. I found my meaning! I learn
to listen in Graduate Seminars and found my symbols of communication. When I became
humble I received new ideation. I am no longer stubborn I learned how to communicate by

37 https://poverellohouse.org/
 
 
 

MAYA  MONUMENTS     76  
 

creating objects in three-dimensional clay. It was not until after my accident and the death of
Beloved Papa Mike Mike that I realized my vulnerability in life and it helped me grow. Many

people are there to help me and I understood the importance of having other people that care. in

Figure  46e  Monzon  A  Papa  Mike  Funeral  at  Poverello  House,  2017

Figure  45f  Fresno  Bee,  Papa  Mike  Picture  and  Paul  StacK   Figure  46g  Fresno  Bee,  Paul  Stack  Deputy  Director  Operations  
placing  Award  from  City  of  Fresno  to  Mike  Mc  Garvin  RIP.   Poverello  and    Village  of  Hope,  in  Memorial  Ceremony  Video,  
2017  
y

I made a leather burning portrait of Papa Mike for his Memorial at Poverello House that filmed

in Fresno Bee coverage of the Funeral.38 He helped me in so many ways when I came to Fresno

38 https://www.fresnobee.com/news/local/article161478753.html/video-embed
 

MAYA  MONUMENTS     77  
 

Figure  47  Papa  Mike  Photo  and  Digital  production  of  me  at  Poverello,  2005 Figure  47a  Papa  Mike  Photo  
at  Holy  Cross  Women  Center

and was homeless. He encouraged me, published my art and poems in Poverello News and

Deputy Director of Operations Paul Stack in charge of Village of Hope gave me many used cots

(homeless beds) to use as canvas for my Archangels and to paint the Angel of the Homeless. I

was featured at Pamela Kinkaid Funeral by Community Alliance and Indybay, reciting my Poem

about the Homeless have a name and a face. Publication at Poverello mentioned broken windows

-­‐Figure  47b  My  Sponsor  Susan  Bobbit  Homeless  Representative  for  Fresno  County  of  Supervisors,  Pam  and  me.  2004  

MAYA  MONUMENTS     78  
 

meant Homelessness. I wrote a poem about it “ Broken Windows of our life, the barren soil we
toil brings no gain—dissolution rust near to the core of our being. In the night shadow, mad

clowns dancing in the dark. Screeching wheels light up the night crescendo, concert for dead

hopes, the rust runs deep into the soul.” Papa Mike fed my soul, like the souls of many more.

FiFgiguurer e 4  47c7 b K  ansas  City  Star  Article    Mural  on  News  of  Westside,  Municipal  Arts  Commision  Grant

Figure  47d  Una  Mjurka  trip  to  Davis  California  Universities  Ceramic  Guild  Exhibits  of  40  Colleges,  2014  
 

MAYA  MONUMENTS     79  
 

 
Figure  47e  MCGarvin  Mike  Papa  Mike  photo  with  my  art  inwindow,  2007  
 

 

Figure  47f  Papa  Mike  added  Larry  Robinson  the  poet  and  me  to  Poverello  News,  Photo  2007.  

MAYA  MONUMENTS     80  
 

z on, and gave me letters of support, allowing me to recover the faith in my ability.

Figure  47g  Papa  Mike  Photoshop  of  photo  he  took  of  my  art  work,  I  painted  in  Poverello  Dining  Room.  Photo  McGarvin  2007.  

MAYA  MONUMENTS     81  
 

Figure  47h  Fresno  Bee  Video,  Screen  capture  of  my  Leather  burning  Portrait  of  Papa  Mike  ,  on  his  chair  at  Funreal  Memorial  

My poem about the Homeless.39 It was recorded by Mike Rhodes from Community Alliance and
posted in Indy bay Central Valley. I made a Leather Portrait for Papa Mike Memorial; he helped
me in so many ways. He encouraged me, published my art and poems in Poverello News
publications, and gave me letters of support, allowing me to recover the faith in my ability.

Papa Mike did pictures in Photoshop for me when I had not heard about digital
art, yet. He gave prints to me when I had lost all the photos of my art, and I was at Naomi Shelter
for Women. I started my path to recovery there in The Paths outpatient program, after I was a
victim of domestic violence. I also filmed videos for Fresno County of Supervisors to procure
Federal Funds for Homelessness in Fresno.

I sustained injuries that left me blind for three months. Being blind taught me to
appreciate the gift of sight. My eyelid nerves, that open and close the eyes got destroyed, and
Community Hospital Emergency Doctors said I might not be able to open my eyes never again.
Many people think Homeless40 people are on drugs, but other situations contribute to
Homelessness in Fresno..Chris Correa helped me put on a Brochure called “Entre Hermana” and

40  https://bit.ly/32gn4jC
 

MAYA  MONUMENTS     82  
 

the Volunteer Program for me to teach arts to Homeless women. She also started the Summer
Programfor kids in the back og F Holycross at Daycare with Sister Francis.

Figure  47i  Monzon  A.  Lino  Martinez  and  me  throwing  cups.  Photo  Monzon2017  

Cultures that trust each other produce art expressions that matter because they change

Figure  47j  Monzon  A  Throwing  at  Ceramic  Wheel  with  Lino  Martinez,  2015.  

MAYA  MONUMENTS     83  
 

groups of people and help students. The children should receive art instruction in their schools
and homes. Cultures that do not trust one another produce chaotic celebrations that create

confusion.

Clarity of symbolic meaning builds trust (I learned from the Aphuai Indians,we study in

English class,) but double meanings in symbols generate social confusion in culture. (like Fiesta
of Octavio Paz, another reading). Art creates healing environments in Daycare centers and

schools.

In the is Hispanic heritage Week celebrations I coordinated with Becky Jaramillo from

Image (Federal Government Employment Agency)and Roberto Gonzales from FEB (Kansas
City, Missouri Federal Executive Board. I received an award from Hispanic Subcommittee for

promoting Federal Executive Board Goals in Kansas City. It was very hard work building floats

but it allowed me to work with kids in OLA school And Guadalupe Center Day Care, then I

moved to work with Boys and Girls Club

Figure  48a  Monzon  A.  Seashells,  meaning  2018 Figure  48b  Monzon  A.    Hozanec  Mayan  blue,  2018
 

MAYA  MONUMENTS     84  
 

.   Figure  48c  Monzon  A,  Bolontiku.  Group  of  nine  underworld  gods.  Photo  Monzon,  2018

Figure  48d  Monzon  A  Tohil  before  textures  and  paint,  2019   Figure  48e  Rabbit  before  texture  and  paint,  2019  

MAYA  MONUMENTS     85  
 

Figure  48f  Monzon  A.  Quetzalcoatl,  Feather  Serpent,  Gucumatz  for  Maya.  Photo  Monzon,  2018  
DESCRIPTION OF THE WORK

MAYA  MONUMENTS     86  
 

In light of considering Mayan Art traditions and Post-structuralism dialogue between the old and

the new, I noted all symbols compete with interpretations of modernism. Like questionings of

surrealism.

Symbolism deconstructs meaning, and this practice elicits resistance, suggesting the need

for new words to express old definitions since there is no meaning outside of language.

In Structuralism, words give the purpose of significance to Language, since they only

exist inside the structure of culture, from which they derive. I think both are right. “Post-

structuralism marks an emphasis on subjectivity and identity. Structuralism threatens authorship,
originality, and identity.”41 We need to understand symbols as a whole before we start pulling (

deconstructing) them apart.
For the focus on those “meaningful interpretations of human experience,” 42 which “can only

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

wish to interpret and understand” (Denzin 1983), which “can only come from those persons who

have thoroughly immersed themselves in the phenomenon they wish to interpret and understand”

(Denzin 1983)

Maya Monuments is my Contemporary artist’s work, responding to a culturally diverse

world. I studied many different kinds of art in the bachelor’s and master’s studies, and my

interpretation of form is multifaceted. Nevertheless, my symbols remain exciting and challenging

because they reflect multicultural appeal while being anchored in Academia. The Popol Vuh is

renown historic codex

My forms are challenging and exciting because of influences from vibrant artistic expression

from students, Faculty Professors, and visiting artists at Fresno State.

Language does not limit our thinking. Ideas are not the origin of words we talk; it is the language

we practice that determines how and what we learn to reproduce. I achieved what I set to

accomplish.

41 arsi, R., Sharifabad, E. D., & Salman Al-Douri, G. S. (2014). Literary Translation through the Lens of
Poststructuralism. Journal of Language Teaching & Research, . https://doi-org.hmlproxy.lib.csufresno.edu/10.4304/jltr.

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

MAYA  MONUMENTS     87  
 

a mountain to become a formidable tool
to help youth. I am a Mayan scribe reproducing
the traditional arts of my people through

sacrifice. My study in art history courses of
both ancient cultures, and modern art helped me
mature in interpretation to create the forms. I
found my notch in Mayan Art because it is the

historic art of my ancestors adapted to
Contemporary expression.43
walk of a healer, ascending in spirals of
mythological symbols, “I practice incursions

into cosmic tunnels between worlds” (Miller

and O’Neil, 2014.)

My hands bleed from the substances I

use and the minerals in the clay. I use plastic Figure  49  Monzon  A.  Gucumatz.  Anabella’s  Photo  

gloves, but inevitably, they tear while coiling. Or  Quetzalcoatl  

For many months, I had cracks on my hands that were very painful. I felt the pain of the pyramid

builders, and I carried the rocks of their achievement with many trials. Artists have to learn the

art of detachment, as all real life in creation is fleeting. Spaniards built churches in Colonial

times with bull’s blood. I was not about to provide mine.
I broke the clay statues. I breathed the dust of falling clay and felt the pangs of

dissolution when I saw my best statues crumble to the ground beaten into oblivion. Under the
dissolution when I saw my best statues crumble to the ground hammered into oblivion. Under the

scorching sun of mix with lime, so when my hands bled, I took a break, but then again, Mayan
art is a sacrifice, so I come back to building too soon. I learned endurance and perseverance. My
statues were too heavy do to my lack of experience building. I believe art can change the world,

and an actual artist marches on, offering all he or she has. Builders create a community that

trusts. When you build for others, then others will create for you.

43 Saltzman, Lisa. Making memory matter: strategies of remembrance in contemporary art. Chicago: The University of Chicago
Press, 2006.

MAYA  MONUMENTS     88  
 

The exchange between the forces of darkness and light creates tension in the game in
Popol Vuh story. In my sculpture, the pressure is created by the pulling of ancient forms into

accommodation of contemporary expression. Stretching the coils, pulling the symbols, twisting

the planes.

Figure  49a  Monzon  A,  The  Statue  I  broke  because  it  was  750  pounds  and  hard  to  move,  2019  

Quiche has a neighboring city, Rabinal, and they had games of war between them in pre-
Colombian times. Rabinal Achi is a performance piece from Kiche and Rabinal city-states of
Guatemala. Tedlock translates iconography interpretation of the most hermetic passages of

MAYA  MONUMENTS     89  
 

Rabinal Achi44 The translation of this play is sourced, “deciphering hieroglyphics, and analysis

of language’s nuances.”(Tedlock, 2003)

Translating and interpreting the language also create a continuous resistance. It is useful

to communicate through three-dimensional art forms. I am currently creating ceramics and

sculpture into contemporary styles that address global issues. Luz Angela Crawford, who

textures contemporary ceramics modeled after techniques developed by indigenous cultures, has

influenced me. She does handmade pottery like the ancient pottery made in Guatemala. Ceramic

Instructor Una Mjurka told me to think in Contemporary terms when I applied for the master’s

program. The lady putting her tongue out is the earth that is getting sick; she has broken reactors

as breasts from Fukushima nuclear.

   

Figure  50  Monzon  A.Gucumatz.  Anabella’s  Photo Figure  51  Monzon  A.Gucumatz.  Anabella’s  Photo

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

MAYA  MONUMENTS     90  
 

meltdown. I am addressing the problems with contamination of the High Seas and the melting

down of the Nuclear plant Fukushima, which poisoned the marine life for a hundred years to

come.

The ceramic piece is Ixiq,45 mother of water sources and seas in Mayan mythology. The

ceramic piece is the result of my research, and she looks very disgusted and sick. There are

hybrid forms of ideas of content in this piece. Art can influence artists' surrounding environment

plus the earth. I believe God has a plan for the future of the Universe, and he gives us life for

eternity in his light. I know this for sure. I have suffered traumatic death experience giving birth,

and I have seen the bluish glow of a thunder color tunnel open up above the sands of the beach

by the ocean, calling me with warmth…"And she is climbing the stairways to heaven," Hey!

Someone else saw it too.

Figure  51a  Monzon  A.  Luz  del  Norte,  Anabella’s  Photo   Figure  51b  Monzon  Luz  del  Norte,  poor  detras  Anabella’s  2017  
2017\ 20172016Photo

I do pre-Columbian bases, and I see myself doing murals in ceramic relief, like carved
stone Maya stelae. The intricacy of mixed colonial imagery and indigenous motifs in churches

45 Wikipedia contributors. (2019, November 21). List of Maya gods and supernatural beings. In Wikipedia, The Free
Encyclopedia. Retrieved 22:15, November 24, 2019,

MAYA  MONUMENTS     91  
 

inspired me to create interpretations of culture. The pure color of earth tonal pigments in my

leather engravings, I reproduce again, in my ceramics and sculptures. I feel safe working with

organic colors. I consider myself a Mayan dreamer, through all my experiences; I get visions

dreams, I call them visions because they are 46"dreams that change my life for the

better"(Yogananda, 1975.)

When I am making a piece of art, I get guidance through visions in dreams about the

spiritual connotations of my art. I get direction. I started drawing when I was four years old

because my father was an artist, and he used to use me as a model to draw my portrait. I was

fascinated by the faces he drew of me. I remember vividly four pictures he made of me. These

resemble likenesses of me, felt like they were four distinct phases of me; the artist, the musician,
the dancer, and the academic me.47 Every day when I was in Elementary school, in the

afternoons, I came back to take arts manual skills crafts, and my mother taught me to be excited

about my projects, she helped me and wrapped them up for presentation.

My mother was a history and language teacher, and she gave me ideas about the Popol

Vuh that became engraved in my mind as my heritage. I also went to the Public Market and saw

a lot of weavings and artisans, when I was young.

These classes and experiences impregnated my being forever with the love of art. I have taught a

lot of youth art, and I wanted to learn more techniques and Common Core from Education to

become a better teacher, so I took CI 149 and worked in a big website project with Miss Keeler.

.48 The three Professors, members of my MA Committee, did a fantastic job guiding me. The

master’s in arts program was great.

Their presence in my life will last forever.

The best Education experience and guidance I had with Martin Valencia, Edward Gillum,49
Keith Jordan, and Joan Sharma. Below is a link to Edward Gillum Foundry Class Art 155,
surprising!

46 http://bookstore.yogananda-srf.org/product/mans-eternal-quest-2/
47  https://sites.google.com/a/mail.fresnostate.edu/ci149-­‐anabella-­‐monzon/info-­‐teaching-­‐docs/book-­‐group-­‐video  
 
 
48  https://sites.google.com/a/mail.fresnostate.edu/ci149-anabella-
monzon/httpswwwyoutubecomwatchvnqjcvya1ds0listplqa7n83llptxn5n39p5cxie_amq78xs4q/quest-35-bloom
49https://photos.google.com/album/AF1QipNmPawT7JFX7_JhVkDc7sSbA5NtSbdtgUzeWL11?key=CMStnZbKpsivNw
 

MAYA  MONUMENTS     92  
 

They are great artist Professors at Fresno State Humanities and Art Department. I
received the best Education experience and guidance from Design Professor Martin Valencia,

Sculpture Professor Edward Gillum, and Professor Keith Jordan. Designer Artist Professor Joan

Sharma taught me about editing books and art concepts. Professor Laura Meyer taught me

Modern Art. Master Coordinator Stephanie Ryan taught me how to face hardships. Our Dean
Honora Chapman taught me to hang in there. Provost Saul Jimenez Sandoval taught me

accomplishment, by his example. Our Fresno State President plainly, inspired me with all his

Education and titles. The Institute for Leadership took my fears away. Fresno State was a

blessing in my life, even Financial Aid office is great! You get back what you put in. I gave it my
all, I got back All! They are great artist Professors at Fresno State Humanities and Art

Department. I recommend them to everyone; their experience and knowledge are invaluable.

Students on Campus should attend the Graduate Seminars; they are very insightful and fun.

I recommend them to everyone; their experience and knowledge are invaluable. I am sure going
to miss them all, but I will keep on coming to visit as many other students do.

Figure  51c  Monzon  A.  Aphuai  Indian  Mask  Ceramic  shop   Figure  51d  Gillum  Ed  Mold  Casting  for  Bronze,  Art  155  Foundry  
2015 2018  

         

MAYA  MONUMENTS     93  
 

Figure  52a  Monzon  A.  Gillum,  in  Foundry,  2019    
Figure  52b  Monzon  A.  Professor  Keith  
Jordan,  2019  

   
Figure  52c  Edward  Gillum,  Art  155  
Figure  52d  Keith  Jordan  Art  Seminars  

MAYA  MONUMENTS     94  
 

SIGNIFICANCE
My art has a stone finish to acknowledge cave paintings in petroglyphs caves in the area.

The statues take the traveler beyond the familiar or actual world. “I am out of habitual senses of

being and a certain type of mythic thinking had begun to seem plausible” (Rhode, 2008)

My art has texture rock finish to acknowledge the petroglyph caves in this area, of
California. Rock art finish is a regional property of this area, which is very important to our local

pride.

The way of life of a tribe destroys, when the images they create are lost.so are the image

meanings they created, like the Chumash Indian cave paintings in Santa Ynez mountains near
Santa Barbara in California Park

.

Again, the allegory of hidden similarities.

I went to elementary school in Saint Agnes or Santa Ines in Guatemala. My art is a
dedication to texture and detail with the fear of emptiness characterized in Spanish architecture.

Regarding the sculptures, Dean of Fresno State Art Department said: “they mesmerize

viewers in our galleries” (Chapman, 2018).

Hour Dean Honora Chapman has encouraged me substantially all through my master
studies, Research Grants, acquisition of Funds, and development of my Project Art 298 Class.

She is the one that gives me the strength to conquer all difficulties on my Academic Path
to becoming a Doctor in Education to help the artists in the Valley and Graduate Students.

I am witness to the discouragement of my fellow Graduates when they lose their
Financial Aid in the last year of culminating experience.

They leave Fresno State defeated, not happy, sad. Education should be about quality, not
quantity. I seek to alleviate this situation by procuring funds somehow.

We all need to take responsibility for helping Art and Artists, as well as students in hard
times.

MAYA  MONUMENTS     95  
 

Figure  53  Monzon  A.  Hunaphu,  Photo  Monzon  2018   Figure  53a  Monzon  A.    Ixbalanque,  PhotoMonzon2018  

Figure  53  Monzon  A.    Hunaphu,  Photo  Monzon  2018   Figure  53c  Monzon  A.  Ixbalanque  

MAYA  MONUMENTS     96  
 

 

Figure  54  Monzon  A.  Altar  in  my  studio  2,  Photo  Monzon,  2019  

They are different from other ceramic work in Fresno; therefore, they provide authentic
engagement, free ecstatic experience of traveling to the Axis Mundo, the world above They are
also a connection to potent supernatural forces of long ago, at the time of genesis creation
genesis of Maya culture

MAYA  MONUMENTS     97  
 

“Many people make burnt offerings at religious times because they think this mountain
altar gives strong protection from evil and inauspicious things” 50 I use many different offerings

Figure  55  Monzon  A.  My  First  Mayan  Mural,  2008   Figure  55a  Monzon.  A.    My  First  Mayan  Mural,  2008Re  -­‐
Re-Encuentro Chanel 9 -set Richard Herrera Encuentro  Chanel  9  -­‐Set  Richard  Herrera  

of Pom. Copal Pom is atree in the jungle of Peten, it’s resin is burned in sacred ceremonies.
Mayan incense, and myrrh. Different mediums, such as clays from different mountains.

e.g.Black Mountain Clay has different spiritual vibrations that invoke different creations.
I believe that working in a single medium is restrictive to my artistic process. Each idea

manifests in its style. The formal transformations of art properties have some art historians and
critics with a structural analogy." Specific essential insights into the true nature of

representation." Significant images allude descriptive or symbolic representation provided
through inspiration.

50 . rdo rje, N. ". T. (2007). On the Way to the Mountain Altar. Skipping Stones, 19(3), 14. Retrieved from
http://search.ebscohost.com.hmlproxy.lib.csufresno.edu/login.aspx?direct=true&db=ehh&AN=25161694&site=ehost-live
 

MAYA  MONUMENTS     98  
 

The history of Mayan Art is prolific, and the theme of the Popol Vuh Codex is
impressive.!51 I spent a lot of funds and effort in making my giant sculptures, and to me, they are

worth a lot. The horned or plumed serpent, a metaphor of lightning that comes out from its open

mouth to coax rain from the guardians of the sky is symbolic of electricity, rain, and water

inherently with the divine.

The Snake traveled to the North, in Casas Grandes, was the motif of ceramics, and in

Jornada, Mogollon district uses kiva paintings between 1200. Around Thirteen hundred’ is found

in Tewa,52 upper Rio Grande region, it was water, sustainer of life represented wearing a

neckband of a shell. The insights of Mayan Monuments into Mayan Cultural history lie in the

analogy or informed comparison of symbols One sculpture has neckband seashells.

The discussion of significance may be rooted in personal or communal roots of

motivation. I had a philosophical belief that I should achieve something intuitive, and I feel I

have. My sculpture comforts my heart from all the pain I experienced in this life and gave me

empathy towards other artists and students. There is a great discussion going on in my show, a

fight between good and evil, a never-ending dialogue that is eternal.

The significance is that there is a dialogue between the characters of Popol Vuh. The story

expresses social, religious, and political beliefs, as well as a history of pre-Columbian and

colonial times. I use strategies of contemporary visual art. My focus is to reveal the unity of

creation and religion in Maya culture; they worship the light. I feel a kind of achievement

representing the art of my ancestors.

I want to prove Mayans did not serve polytheistic gods. Some human sects negate

universal light as the source of creative power and claim to control life by their means. Creed

theology separates humankind into tribes, claiming freedom in dogma. I think it is significant

that we consider the angle of seeing by the viewer. It is not what I write, but what others read.

(Mahishi, 2019.) Chris thinks the viewer; how he understands the show. He made sure the person

entering a room would not be overwhelmed with a restrictive view but welcomed.

I pursue creative change; intended outcomes are growing awareness and increase giving

to Fresno State Art and Humanities Department. Raise funding for the Arts at State and City

51 Oostendorp, H. van, & Goldman, S. R. (1999). The Construction of Mental Representations During Reading. Mahwah, N.J.:
Psychology Press
 
52 Andrews, S. (2005). Casas Grandes and the Ceramic Art of the Ancient Southwest. Library Journal,. Retrieved from

MAYA  MONUMENTS     99  
 

levels and Public and Private Sectors participation. I seek to engage and manage significant
discussion for Art hop audience, and artists about why we lost 96% of funds to hire artists

through AIE, bring Art In Residencies back into education in

   

Figure  56  Monzon  A.  Huracan,  Photo  Monzon  2019 Figure  56a  Monzon  A.  Chaac,  Photo  Monzon  2019

discussions for Art hop audience.
Artists about why we lost 96% of funds to hire artists through AIE, bring Art In

Residencies back into education in Schools in San Joaquin Valley.
Art will be a pact between ethnically diverse populations and educational establishments.

My Show is mediation for the community’s different programs for youth. Sculpture
original orientation can provide residencies for Fresno artists.

I see this as my highest responsibility, the imperative goal to help the community and give
back through my gift from God through art, I want to donate my art.

There is still a tendency in higher education to teach the introductory-level art from a
Eurocentric skills-based perspective that often excludes female and indigenous ways of knowing