Carlos Zapata 'Iconos: Sagrado y Profano'

Car los Zapata Iconos : Sagrado Y Profano

Iconos : Sagrado y Profano (Icons : Sacred and Profane)
With this exhibition Carlos Zapata explores and examines the use of icons within
his personal and extended culture. Depicting a variety of venerated subjects called
upon at different points in individuals’ lives, Zapata examines how these icons are
appropriated and altered for the benefit of specific people or groups – in par ticular
reference to traditional customs that are modified within contemporar y cultures in
South America. Zapata originates from Columbia, these are personal reflections on
rooted experiences, almost autobiographical retellings of accepted myths and legends,
alongside personal parables.
In South America the employment of idols can ocassionaly seem mundane or
ever yday, but their use also reflects a complicated and difficult society where they
are relied upon in times of helplessness. Many search for restoration, stability and
protection; while the vulnerable seek aid, reassurance and comfor t, and the guilty
seek validation and redemption.
Understanding a little more about the origination of the icons depicted, it becomes
clear that many have emerged during times of economic hardship or political unrest.
Called the ‘cult of crisis’ by anthropologists, characters or devotional aids materialise
that people can relate to more readily and are then added to the pantheon of more
conventional religious icons. This includes idols that are commonly adopted and used
within the criminal underworld that is rife in many areas.
The syncretic nature of par ticular religions or cults result in their constant
evolution - different attitudes or spirits become absorbed, as well as renounced,
depending on the locality and the needs of the community or those in
power. Often disillusioned with the dominant institutional Church, and its
Saints seeming inability to deliver them from hardship, people create their own
new religions that reflect their own personal realities, identity and practices.
Olivia Gray, 2013
1

Las Tres Potencias (The Three Powers)
mixed media
175 H x 30 W x 30 D cm
The ‘Tres Potencias’ or ‘Three Powers’ are Maria Lionza, The Cacique Guaicaipuro, an Indian chief murdered
by the Spanish colonists, and Negro Felipe, a black slave who was also murdered by the colonists. These
three saints are the leading figures of the pantheon of the spiritual religion similar to Santería in Venezuela,
Colombia, Cuba and other Caribbean countries
2

3

Hermit
mixed media
35 H x 19 W x 19 D cm
4

5

Yorùbá Spirit Protector (Guardian of the Kidnapped)
mixed media
42 H x 12 W x 12 D cm
The Yorùbá religion originates from Africa and was brought to Latin America during the Atlantic slave trade
from 1300 - 1900. It is closely related to Vodou and is integrated into what now constitutes the core of the
New World lineages.
6

7

Praying Figure
mixed media
40 H x 32 W x 19 D cm
8

9

Carmen’s Feet
mixed media
43 H x 27 W x 34 D cm
10

11

Ekkeko (The Andean God of Abundance)
mixed media
41 H x 24 W x 21 D cm
Ekkeko is a Bolivian, pre-Christian deity known as the god of abundance, money and luck. Wishes for
material goods are tied onto Ekkeko’s body and are said to be granted during the coming year.
12

13

La Mano Poderosa
mixed media
30 H x 12 W x 10 D cm
The ‘Mano Poderosa’ or ‘All Powerful Hand’ is an ancient symbol of protection that was originally brought to
Latin America by European settlers and missionaries. Religious paraphernalia such as this was used to teach
the then illiterate indigenous populations about the Catholic Saints. It is now a ver y important talisman
used for protection, to ward off evil.
14

15

Juan jesus Malverde (The Narco’s Saint)
mixed media
26 H x 17 W x 17 D cm
According to local legend in Mexico, Jesús Malverde was killed by the authorities in 1909, since then he has
emerged as a ‘Robin hood’ type figure and is known as the ‘generous bandit’ or the ‘angel of the poor’. This
outlaw image has resulted in him becoming the ‘patron saint’ of the regions notorious drug trade - being
dubbed the ‘narco-saint’.
16

17

Black Madonna / Coatlicue (Earth Godess)
mixed media
45 H x 22 W x 25 D cm
18

19

Milagros (Miracles)
mixed media
153 W x 60 H cm
A milagro or miracle is offered to a deity or saint as a form of prayer or wish, or in thanks for desires fulfilled.
part to be healed or enhanced (such as the pair of eyes, legs, and arms car ved on wood)
In Latin American milagros have their roots in pre-Columbian times of offerings and votar y figures of gold.
exist at the boundar y between object-oriented magic and devotionar y prayer.. body As magical artifacts, they
are activated by placing them in a sanctuar y or shrine.
20

21

Jose Gregorio Hernandez
mixed media
35 H x 17 W x 17 D cm
José Gregorio Hernández (1864 - 1919) was a Venezuelan physician, who after his death began to be revered
as a Saint. People began to claim that miracles were granted to them after praying to him and he is now
commonly evoked by doctors and patients for healing purposes.
In 1949, Venezuelan Catholic Church officials began the process that would lead the beatification of Dr.
Hernández. The process of his canonisation commenced during the Vatican I, which had granted him the title
of Venerable in 1985. His remains are housed in the Holy Church of La Candelaria in Caracas, Venezuela.
22

23

Cabinet of Prayers
mixed media
70 H x 35 W x 17 D cm
24

25

Saints
mixed media
20 H x 42 W x 15 D cm
26

27

Madonna Guerrillera
mixed media
26 H x 10 W x 12 D cm
28

29

Piece of Land
mixed media
185 cm high
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31

Saint’s Head
mixed media
16 H x 27 W x 13 D cm
32

33

Maximón
mixed media
40 H x 39 W x 19 D cm
The worship of Maximón treats him not so much as a benevolent deity but rather as a bully whom one
does not want to anger. He is also known to be a link between Xibalbá The Underworld and Bitol heart of
heaven (Corazón del Cielo). His expensive tastes in alcohol and cigarettes indicate that he is a sinful human
character, ver y different from the ascetic ideals of Christian sainthood. Devotees believe that prayers for
revenge, or success at the expense of others, are likely to be granted by Maximón.
34

35

Santa Muerte (Patron of the Kidnappers and Criminals)
mixed media
60 H x 15 W x 10 D cm
Santa Muerte is the female personification of death who first came to popular attention in 1998 after police
arrested the gangster Daniel Arizmendi López and discovered a shrine to her in his home. Widely reported in
the press, this discover y inspired the common association between Santa Muerte, violence, and criminality in
popular consciousness. Also known as Señora de la Noche (Lady of the Night), she is now often invoked by
those exposed to the dangers of working at night, such as taxi drivers, mariachi players, bar owners, police,
soldiers, and prostitutes.
36

37

Curandera (Shaman)
mixed media
220 H x 31 W x 20 D cm
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39

Published by Millennium to coincide with the exhibition ‘Iconos : Sagrado y Profano’ by Carlos Zapata
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Publication produced by Impact Printing Services (www.impactprintingservices.co.uk)
Portrait photography courtest of Nik Strangelove (www.nikstrangelove.com)
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