Iconography: If we look at the painting from left to right, the first figure we encounter is Gou, the Malhecho of fire, represented with warm colors and accompanied by flowers inspired by the Floripondio, burning alongside his Malhechos and creatures. Next is Ram, the Malhecha of water, who appears as a waterfall with two faces in the water and two wizards; the glazes in the painting create a mist that evokes the different states of water and what Ram symbolizes. On her head, she bears a green Frailejón with oval-shaped figures referencing the creation of the planet. The wizards, in turn, hold staffs of light representing the first burst of energy.

Between Gou and Ram, we find Olrab and the bird, along with more creatures traveling on their Malhecho swans. Moving forward, we see Xenoxi, the Malhecho of air, depicted as a cat-tree playing the flute, with trees sprouting from his crown and an eye emerging from his roots. In him, we also find the first traces of life, represented by flowers and bees. Finally, there is Millase, the Malhecho of earth, whose trunk houses epiphytic plants and bromeliads that feed on nutrients carried by oxygen. Within him, we find the power of enlightenment and nature. The lower part of his trunk is inspired by an aspen, a tree capable of surviving the harshest winters, which in this particular case is covered in eyes. On Millase’s shoulder, we begin to see the first insects that inhabited our universe.

Iconology: This painting features the Malhechos of the four main elements of creation, coexisting in harmony before the arrival of the gray giants. The artwork speaks of the whole, of the ability of these supernatural entities to merge, thus creating the perfect conditions for our species to develop the abilities necessary to believe, grow, and create. Here, the first impulse of life is represented—also present in the painting—serving as one of the earliest methods of magic and language. According to the myth of the Malhechos, the four elements and the arts form the foundation of the universe’s creation, which is precisely what this painting aims to convey.

Technique: Painting with my hands is not done in vain. When I paint with brushes, I realize that I don’t need any external tool to create my pieces. Painting with my hands has allowed me to develop a different connection with colors and contrasts, as in thick layers of paint, the colors blend but do not fully merge. I also discovered that I enjoy creating from disorder—I never have a sketch in hand, only the stories of these creatures that I depict with textures emerging from the soul, expressed with the power of touch, feeling the paint and the surface directly with my hands.

I lost my fear of painting when I understood that whenever I disliked something, I could cover it with white and then with any other color. The process I follow in my paintings has become my reality, allowing me to feel the vibration of color contrasts and manifest the world I inhabit through them. I confidently spread paint with my hands, knowing I can remove it with a high-pressure water stream, rescuing the parts I find interesting and leaving the rest as textured layers. I often rotate the canvas to view it from different perspectives until these beings begin to reveal themselves within the stains and contrasts. The paint drips usually resemble tree trunks, while the darker areas create depth, generating a particular atmosphere where these unique beings can coexist.

By feeling the paint with my hands, I have come to understand that they hold the power of millions of brushes—I can use all ten fingers in motion to create roots and branches, tap with my fingertips to form tree leaves, or apply a thick stroke of paint with both hands and later scrape details with my nails.

References:
Eliade, Mircea. (1991). Myth and Reality. Editorial Labor S.A.
León-Portilla, Miguel. (2019). Toltecáyotl: Aspects of Nahuatl Culture. Fondo de Cultura Económica.
Mannheim, Karl. (2004). Ideology and Utopia: Introduction to the Sociology of Knowledge. Fondo de Cultura Económica.
Mariátegui, José Carlos. (2007). Seven Interpretative Essays on Peruvian Reality. Fundación Biblioteca Ayacucho.