Tzolk’in

At their zenith, the Maya civilization of Mesoamerica was one of the most densely populated societies of the world.  I first became interested in the Maya while visiting Teotihuacán and Monte Alban in 1996.  Years later, a fascination with these Toltec and Zopatec cites became the impetus for a more developed investigation into pre-Columbian civilizations.  Considering mythologies with an emphasis on precognition, the Mayan Calendar became the second series in a broader investigation and the subject of my work.

Much of what is known about the Maya comes from archeological sites and the study of the few surviving copies of the Mayan Book of the Dawn of Life.  Two examples are the Dresden Codix (an original manuscript written in Mayan hieroglyphs) and the Popul Vuh (written in Spanish during the period of conquest).  My own investigation into the Maya greatly reference the Popul Vuh as well as Maya artifacts in the collection of the Saint Louis Art Museum.

Highly developed mathematicians and astrologers, the Tzolk’in was one of three calendars used by the Maya.  Combined, the calendars were believed to be a precognitive mechanism, used to forecast the end of time (on December 21, 2012).  Consisting of 20 days and 13 numbered months, the Tzolk’in is instilled with symbolism, each day associated with aspects of religion, astrological observations, and daily life and death.

Tzolk’in considers the mysteries of the Mayan ritual Calendar.  Through color, form, and shape, each painting represents symbolism associated with each day.  Ik ’symbolized the breath that animated human beings in the form of wind.  Presented as a triptych, Ik’ is a turbulent, orange-yellow gradient constrained at the top and bottom by raised white bars or platforms.  While essentially abstract, this work is greatly influenced by Maya architecture, this series has developed in two distinct ways to include shaped panels as well as taking on more overt sculptural qualities.

back