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Programa De La Conferencia Segundo Congreso Internacional De Iconografía Precolombina

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

Barcelona, 2023.

Victòria Solanilla, organizador

17 al 20 de octubre de 2023.

En el Museu de Cultures del Món de Barcelona. Calle Montcada, nº12-14, 08003, Barcelona.

Y en el Institut d’Estudis Catalans. Calle del Carme, nº 47, 08001, Barcelona.

Organizado por el GRUP d'ESTUDIS PRECOLOMBINS· con el apoyo del MUSEU ETNOLÒGIC I DE CULTURES DEL MÓN· INSTITUT D'ESTUDIS CATALANS· SOCIETAT CATALANA D'ESTUDIS HISTÒRICS

Silhouette, Andy Bissonnette

School of Art, Art History, and Design: Theses and Student Creative Work

As a potter, I am deeply interested in the union between form, surface, and function. I believe these elements are intrinsically connected and the most successful pots are able to balance all three in a way that is both aesthetically pleasing and practical. From the proportional relationship between the foot and rim, to the way a glaze breaks or pools across an articulated surface, each detail is crafted with intention and care. Silhouette is a metaphor for how I conceptualize and conceive each of my pieces. It’s a way to explore form through both an aesthetic and practical approach. My …

Qualia, Maxwell Henderson

School of Art, Art History, and Design: Theses and Student Creative Work

In this thesis, I examine the transformative potential of pottery through the lens of "qualia," the subjective experiences, emotions, and perceptions that shape our conscious lives. Stemming from my personal journey, which includes a childhood of poverty in Arizona and a biracial identity, I advocate for inclusivity and diversity in art and society by challenging material hierarchies and conventional artistic practices.

I delve into the vibrant aesthetics of Japanese Kutani porcelain, the fluidity and balance in ceramic vessels, and the impact of my background on my artistic approach. My experiences foster a rejection of painterly language and arbitrary hierarchies, prompting …

Qualia, Maxwell Henderson

School of Art, Art History, and Design: Theses and Student Creative Work

As an artist, my work is a conduit for the exploration of "qualia" – the personal, deeply subjective experiences, emotions, and perceptions that shape our conscious lives. My artistic journey, born from a childhood in Arizona poverty and my biracial identity, has ignited a passion for inclusivity and diversity in art and society, guiding me to challenge traditional material hierarchies and conventional artistic norms.

My art interweaves the vivid aesthetics of Japanese Kutani porcelain and the natural, raw beauty of Icelandic landscapes with the fluidity and balance found in ceramic vessels. Through this fusion, I strive to redefine the role …

Proyectar El Diseño Precolombino: Experiencias Didácticas, Luz Helena Ballestas Rincón

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

Se presenta el resultado de un Modelo Pedagógico basado en el Diseño Precolombino, el cual ha sido aplicado en diversos escenarios y ambientes de aprendizaje. Mediante la sistematización de la teoría con la práctica del diseño se muestran ejemplos de los métodos de diseño que han resultado eficaces, ya sea en el ámbito universitario o en grupos interesados en el conocimiento de estos bienes patrimoniales, entre los que se encuentran estudiantes y profesores del área artística así como personas convocadas por algunos museos que poseen colecciones precolombinas.

Al experimentar y proponer activando los mecanismos que liberan la creatividad y, a …

Identificación De La División Del Trabajo Entre Los Géneros A Través Del Análisis Iconográfico, Sarah Kauffmann

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

El presente trabajo se enfoca en la metodología para identificar los roles y actividades realizadas por determinado género en la sociedad maya prehispánica. Códigos especiales en la iconografía son utilizados para representar y diferenciar los dos géneros. Varios medios se explorarán como las estelas, dinteles, cerámicas y figurillas. A través de la iconografía se identificará las actividades, vestimenta y postura para interpretar la división del trabajo.

This present study focuses on the methodology for identifying the roles and activities realized by both genders in the pre-Hispanic Mayan society. Special iconographical codes are used to represent and differentiate men and women. …

El Refugio De La Imagen Chamánica En El Mundo Malagana, Sonia Blanco, Catalina Simmonds Caldas

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

La voluntad de elaborar una pieza antropomorfa, es incidir sobre el objeto, haciéndolo actuante. Tratándose del mundo Malagana – sociedad prehispánica colombiana –, que consideró el papel primordial de la mujer, esta imagen femenina y robusta, en cerámica, de pie, portadora de una máscara, como pieza – soporte simbólica contendría en su epidermis y gesto, una narrativa ritual. Desarrollada en un espacio funerario, como ajuar, personificaría los atributos del mono aullador y convocante de los “espíritus (auxiliares) alter-ego”, de los monos ardilla, intervendría de forma ritualista sobre los humedales del pueblo Malagana, aportándoles el equilibrio para la inflorescencia de la …

Póster De La Conferencia Segundo Congreso Internacional De Iconografía Precolombina

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

Victòria Solanilla, organizadora

17 al 20 de octubre de 2023.

En el Museu de Cultures del Món de Barcelona. Calle Montcada, nº12-14, 08003, Barcelona.

Y en el Institut d’Estudis Catalans. Calle del Carme, nº 47, 08001, Barcelona.

Los Bordados Mayas Que Protegen De Enfermedades En El Estado De Yucatán, México, Roberto Campos-Navarro, Leydi Dorantes, Danielle Dupiech Cavaleri

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

Conocemos el rol de los textiles en los rituales y el significado de numerosos símbolos que bordan las artesanas mayas de la Península de Yucatán, no obstante, existen varios motivos de plantas medicinales bordados en los textiles que no fueron analizados. En el mes de septiembre de 2022 dio comienzo una investigación en cooperación con la joven curandera x-meno’ob de Yaxcabá, Leydi Dorantes, que cultiva más de doscientas plantas medicinales mayas en el jardín botánico que creó su abuelo, mismas que usa en rituales y también para curar. Ella nos da a conocer la relación existente entre los elementos de …

El Sobredimensionamiento Y Otros Recursos Plásticos Como Representación De La Capacidad Extática–Visionaria En El Arte Chamánico Americano, Ana María Llamazares

Segundo congreso internacional de iconografía precolombina. Barcelona, 2023. Actas.

Este artículo explora uno de los principales rasgos del arte chamánico visionario: el sobredimensionamiento de las figuras o de algunas de sus partes significativas. A través de diversos registros arqueológicos y contemporáneos, se brindan elementos valiosos para interpretar como representaciones explícitas de la capacidad extática o visionaria, ciertas imágenes de arte prehispánico o etnográfico ligadas a tradiciones de prácticas chamánicas americanas, en las que se ha expresado la percepción de la magnificación energética a través de rayos, aureolas o apéndices diversos que expanden el tamaño de las cabezas, manos, pies u otras partes del cuerpo en forma desproporcionada respecto del …

Brick Collage, Dehmie Dehmlow

School of Art, Art History, and Design: Theses and Student Creative Work

bricolage: construction or creation from a diverse range of available things

I create abstracted modular sculptures, assemblages, and collages that playfully reference utility, using salvaged materials and carefully fabricated objects. My sculptures are considerately composed, elevating the materials with a determined focus on how each disparate part connects to the next to become a meaningful whole. I have a reverence for all of the objects and materials I use, no matter their origin, and thoroughly consider how each of their forms, textures, colors, weights and other formal and physical qualities integrate into a whole. With the use of recognizable utilitarian …

It Won’T Be Easy, Allison Arkush

School of Art, Art History, and Design: Theses and Student Creative Work

Interdisciplinary artist Allison Arkush engages a wide range of materials, modalities, and research in her practice. In It Won’t Be Easy, Arkush places and piles her multimedia sculptures throughout the gallery to create installations that overlap ­with her writing and poetry, sometimes layering in (or extending out to) audio and video components. This approach facilitates the probing exploration of prevailing value systems through a flattening of hierarchies among and between humans, the other-than-human, and the inanimate—though no less lively. Her work meditates on and ‘vendiagrams’ things forsaken and sacred, the traumatic and nostalgic. The exhibition title acknowledges that the …

Growth, Taylor Sijan

School of Art, Art History, and Design: Theses and Student Creative Work

I craft functional pottery that is richly decorated with layers of abstracted botanical imagery. While working within the parameters of function, I explore the possibilities for expressing and evoking beauty through altered porcelain forms and lush surfaces. As a potter, I create forms that inspire curiosity and interaction through a balance of originality and suggested function. I connect myself to others through the intermediary of the vessel, conveying my reverence for plants, nourishment and beauty. People then interpret how to use my work, adding their own sentiments as it becomes part of their lives. Pots live in the home, bridging …

The Weight Of It All, Amythest Warrington

School of Art, Art History, and Design: Theses and Student Creative Work

The impetus for this exhibition is to visualize the weight of loss and to focus attention on the need to recognize the inherent dichotomy between life’s beauty and loss. My mobile upbringing taught me that details may differ from group to group, but the core experiences of loss, empathy and belonging are a universal language that connects us. I utilize clay’s unique physical properties of malleability, recyclability and permanence once fired, to explore the dichotomy between strength and frailty associated with these universal connectors. The meticulously crafted beautiful objects draw one into serious and often taboo subjects. The work comforts …

Slowly But Surely, Katie Bosley

School of Art, Art History, and Design: Theses and Student Creative Work

I craft porcelain vessels that combine dynamic forms and dimensional surfaces to create a captivating presence. Formal components such as line, space, and color are carefully considered to create objects that are striking at first glance and reward further inspection. Constructed with an emphasis on structure, these works challenge conventional interpretations of the vessel and promote a sense of awe.

My vessels are relational objects that both affect and are affected by their surroundings. Employing positive and negative space, and light and shadow, they collaborate with the space they inhabit. They are objects designed to promote and reward active viewing. …

Eat My Quartz, Neil Celani-Morrell

School of Art, Art History, and Design: Theses and Student Creative Work

Pottery has a remarkable ability to tap into the human collective experience, so it is no surprise I express my own understanding of the world by working within the boundaries of “the pot”. With the capacity to communicate conceptual meaning and to serve as objects of utility, pottery not only dances in the notorious territory between art and craft, it embodies the human spirit.

My pots are totems of my existence and this work is an authentic representation of my creative journey. They are an homage to the key influences in my life which have informed and encouraged my creativity …

Cornucopia, Patrick Hargraves

School of Art, Art History, and Design: Theses and Student Creative Work

I navigate the uncertain times we live in by creating positive, playful sculptures because focusing on joy is not only possible in times of hardship, I believe it is necessary in order to thrive. I go through life with a watchful reverence, finding beauty and hope in the abundance of life in the natural world. Using this inspiration, I reinvent and intentionally exaggerate landscapes and plant forms in clay with a freeing sense of whimsy. My fantasized pieces are an invitation to extend imagination to the joyous moments in the world around us, and to return to an innocent sense …

This Is Just To Say, Iren Tete

School of Art, Art History, and Design: Theses and Student Creative Work

My memories are marked by the desire to evade logic. At a young age I became a proficient player of the “What If” game.

What if I could hold light in my hands?

What if shadows had form that could be touched?

What if I could see through structures?

These mental exercises affected my relationship with reason and validity. Aware of the threat of the ordinary, I embraced the inherent magic in the notion of possibility. I understand possibility as the limitless potential of object, thought, or scenario. This potential extends beyond the apparent and prompts more questions than it …

Entangled, Katherine Cox

School of Art, Art History, and Design: Theses and Student Creative Work

I create objects to incite wonder through their exuberance, inviting one to explore the beauty found in the strange and offering the viewer a way to interact with the discomfort of the unknown. Mysculptures are an assembly of engaging surfaces and forms revealing varying texturesandvibrant colors referencing natural and fabricated worlds. Each sculpture is entangled within its own environment or narrative and each is adorned for its own role, finding a balance between discord and harmony, captivation and repulsion.

Each is an individual exploration of the distinct qualities inherent within each object. They are precious in scale and stimulate …

In Between, Wansoo Kim

School of Art, Art History, and Design: Theses and Student Creative Work

In my eyes, the world is composed of both revealed things and hidden things. I interpret my surroundings based on this idea, seeking to realize my ignorance and awareness. With this in mind, I create objects in which dichotomous ideas are present, and use their physically revealed and hidden aspects in order to represent the greater human struggle to see and understand what is hidden from us.

The notion of inside and outside is one of my particular subjects. Upon observing an object or a structure, we see only its external reality. I aim to present the unobservable, often presenting …

A Synthesis Of Structures, Patrick Kingshill

School of Art, Art History, and Design: Theses and Student Creative Work

I create compositional structures based on a curated catalog of physical and visual relationships that I have cultivated from my daily life. These compositions are intuitive expressions related to my fascination with the many facets of the built and designed world. My arrangements are curious and intriguing and they unify the expansive diversity of my formal inquiries into a cohesive visual and contemplative experience.

Ceramic and wood are my primary mediums. My interest in woodworking is both aesthetically motivated and nostalgic. I was born in a region of northern California that is historically known for its native giant sequoia and …

Deconstructing Ideas Of Utility Through The Making Of Ceramic Vessels, Iren Tete

School of Art, Art History, and Design: Theses and Student Creative Work

My work is a translation of memories, experiences, and languages into shapes, colors, and symbols. The fragmented relationship with my cultural identity is easier to deconstruct when paired down to an exploration of process, form, and color. Ideas of containment, strength, and beauty are translated into line, form, and color. A color palette that is predominantly white and black represents my cultural dichotomy. Addressing a perpetual, yet elusive, quest for balance, these colors coexist within forms but are never seamlessly integrated.

I address dichotomies directly through process. Through pinching, coiling, slab-building, and wheelthrowing I vacillate between the need for structure …

Substrato Para Devaneios, Louise Deroualle

School of Art, Art History, and Design: Theses and Student Creative Work

Clay is my substrato para devaneios, my foundation for daydreams. Clay is earth, a humble, common material that represents the possibility of growth and thus, life. As my substrato, clay gives me stability and nourishes me, allowing me to communicate with and relate to the world. It has the ability to register touch and gesture; it records a moment in time.

My work is an abstracted representation of me: my identity, the way in which I relate to others and understand the environment I am in. I use ceramic materials to create formal abstractions that reveal different facets—physical, experiential, emotional—of …

Domestic Curiosities, Larry D. Buller

School of Art, Art History, and Design: Theses and Student Creative Work

My art at first glance suggests the domestic, ornamental nature of ceramic objects, but upon closer inspection one discovers a showy, transgressive content that is conceptualized around issues of gay sexuality, the phallus and fetish objects. I create decorative sculptures that resonate with my varied experiences as a gay man. Clay with its endless possibilities for form and surface, is the ideal medium for my subversive intentions. It allows me to blend the rich historical language of ceramic art with the low-brow, and in my case, kitsch nature of craft that one might find in second hand stores. I invite …

Object Landscape, Stuart B. Gair

School of Art, Art History, and Design: Theses and Student Creative Work

The ceramic objects I create possess a particular buoyant volume and subtle organic surface variation that enable each piece to stand-alone and yet to allure the viewer in for closer examination. A particular articulation of each form creates an aesthetic that allows the object to occupy a space in such a way that evokes a sense of balance and harmony with a minimal domestic setting. Interests in historical forms that possess a full sense of volume provide a framework me to explore proportion, line, edge, silhouette, and transitions. I pare down these qualities to their true essence while still evoking …

When The Wind Stops, Qwist Joseph

School of Art, Art History, and Design: Theses and Student Creative Work

The sculpture I make exemplifies my interest in objects, their creation and our tendency to covet them. Humans have developed elaborate and diverse systems to categorize and dictate the value of things. As a culture we elevate and protect Art and its display is a platform in which this object obsession is exaggerated. Through the podium of art exhibition, I explore the idea of object-ness. I question the parameters around what defines something as an object, and more specifically what’s necessary to transform that thing into Art. Further, I wonder where the line is drawn between Art and the ordinary; …

Tangled Knot Tied, Shalya Marsh

School of Art, Art History, and Design: Theses and Student Creative Work

I make formal studies in layering that use abstraction and visual symbols as a metaphor for the complex relationship we as individuals have with language, interpretation, and human interaction. My current work explores ideas of connection through representations of knots and tangles. While knots can signify protection and strength, tangles allude to anxiety.

I rely heavily on format and structure as a means of conveying content. Repetition, contrast, and layering of elements suggest the complexity of relationships. The work is composed of a series of tied knots or tangles, single knot forms in multiple variations, or a combination of multiple …

Land Of Enchantment: New Mexico As Cultural Crossroads, Jonathan Frederick Walz

Sheldon Museum of Art: Catalogs and Publications

This exhibition foregrounds Sheldon Museum of Art’s collecting strength in fine and decorative arts with connections to New Mexico, and, more broadly, to the desert Southwest. For thousands of years this corner of the United States, situated on the north-south trade route between Colorado and Mexico and at the western edge of the Great Plains, has hosted human habitations, each with its own distinctive material culture. The area’s diverse topography and population have inspired countless visual responses, from petroglyphs to photographs. The state’s relative isolation—at least before the mid-twentieth century—provided a backdrop upon which the movement of goods, practices, ideas, …