La Cosmogonía Olmeca
Topic: The Olmec Cosmogony
Description: In the presence of the effigy of mother Coatlicue and over the waters spilled by the Gods, Tlaloc is received with Cocijo and Chaac, who replace the God of water who is thrown out and stripped by a group of Olmec priests, similar to the offering of "la Venta". On the colossal head of San Lorenzo, Tenochtitlan Veracruz, mother earth appears in the form of a mother feeding the son of the jaguar and she, who initiates the human race, according to the rupestrian (done or rock or cave walls) drawing that works in the state of Guerrero. In the lower left corner, the monster of the earth is seen pouring jadeite from a bowl in his hands, representing "life" with the water. The supreme hand of Coatlicue rains down on the lake while two serpents intertwine at her waist to create human life from Huitzilopochtli.
Daniel Camacho is an artist born in October 1982 of Mexican origin. From a very young age he began his passion for painting as a means of expression and personal evolution. Daniel studied at the Academia de San Carlos de la CDMX, in the workshop of the master muralist Alfredo Nieto, and later studied in Bellas Artes [Fine Arts] de cd Nezahualcóyotl.
Inspired by the mystical and magical knowledge of the initiatory cultures, he focused his attention mainly on the past and present world of the “Anahuac” Valley of Mexico. It was central to several pre-Columbian civilizations, including Teotihuacan, the Toltec and Aztec, and became a well known site that epitomized the scene of early Classic Mesoamerican cultural development as well.
His work has become a tool to rescue, disseminate and resignify the indigenous identity and pre-Hispanic worldview. With this purpose, he has produced works for Fundacio?n Cultural Armella Spitalier (FCAS) representing different archaeological zones, capturing and embodying the teachings of the ancient Mexicans. In addition to participating in different collective and individual exhibitions, Daniel has produced murals and easel works for private collections with the theme of Mexican identity.
Daniel’s pictorial technique is rooted in Mesoamerican art and in the Flemish school of the European low countries, in addition to the Mexican School of Painting, headed by masters such as Diego Rivera, Orozco, Siqueiros, and Doctor Atl, thus making
Topic: The Olmec Cosmogony
Description: In the presence of the effigy of mother Coatlicue and over the waters spilled by the Gods, Tlaloc is received with Cocijo and Chaac, who replace the God of water who is thrown out and stripped by a group of Olmec priests, similar to the offering of "la Venta". On the colossal head of San Lorenzo, Tenochtitlan Veracruz, mother earth appears in the form of a mother feeding the son of the jaguar and she, who initiates the human race, according to the rupestrian (done or rock or cave walls) drawing that works in the state of Guerrero. In the lower left corner, the monster of the earth is seen pouring jadeite from a bowl in his hands, representing "life" with the water. The supreme hand of Coatlicue rains down on the lake while two serpents intertwine at her waist to create human life from Huitzilopochtli.
Daniel Camacho is an artist born in October 1982 of Mexican origin. From a very young age he began his passion for painting as a means of expression and personal evolution. Daniel studied at the Academia de San Carlos de la CDMX, in the workshop of the master muralist Alfredo Nieto, and later studied in Bellas Artes [Fine Arts] de cd Nezahualcóyotl.
Inspired by the mystical and magical knowledge of the initiatory cultures, he focused his attention mainly on the past and present world of the “Anahuac” Valley of Mexico. It was central to several pre-Columbian civilizations, including Teotihuacan, the Toltec and Aztec, and became a well known site that epitomized the scene of early Classic Mesoamerican cultural development as well.
His work has become a tool to rescue, disseminate and resignify the indigenous identity and pre-Hispanic worldview. With this purpose, he has produced works for Fundacio?n Cultural Armella Spitalier (FCAS) representing different archaeological zones, capturing and embodying the teachings of the ancient Mexicans. In addition to participating in different collective and individual exhibitions, Daniel has produced murals and easel works for private collections with the theme of Mexican identity.
Daniel’s pictorial technique is rooted in Mesoamerican art and in the Flemish school of the European low countries, in addition to the Mexican School of Painting, headed by masters such as Diego Rivera, Orozco, Siqueiros, and Doctor Atl, thus making
La Cosmogonía Olmeca