© 2019 by Roneld Lores

SCULPTURE

1/6

TLANECI

 

27”H x 16”W x 12”D

 

original: Terracotta fired to cone 06. Burnished and treated with terra-siggilatta and various stains and specialty glazes.

(limited edition of 5 bronzes)

Tlaneci is a Náhuatl word describing the dawn of a new day or the manifestation of something new.

I found this an appropriate title to usher in one of the pivotal sculptures created for The Children of Light, Water, and Clay series. Tlaneci brings to life one of the central figures in the series.

I am very grateful to my friend and model Kendra for the endless hours of posing and the inspiration for this piece.

1/8

ETALPALLI

20”H x 4”W x 4”D

original: Stoneware fired in a traditional Cambodian wood-fire kiln. The granite base is taken from the end of a drilled core sample and the surface flares slightly at the top.

(limited edition of 5 bronzes with a steel base)

Tlaneci is a Náhuatl term meaning wing which in this case serves to describe the head piece of this figure.

I often wait til the very final stages of sculpting before I decide on the head decoration of a piece. At this stage, I will have a more concrete understanding of the personality and energy emanating from the figure and I look at the process of sculpting the head piece as a moment of self discovery and identification for the figure. The head pieces are pivotal in humanizing the character and giving us a glimpse into their essense.

1/8

ARTEMISIA

18”H x 6”W x 9”D

original: Stoneware fired in a traditional Cambodian wood-fire kiln with a steel base.

(limited edition of 5 bronzes with a steel base)

Artemisia is a greek female name derived from the Greek goddess Artemis, associated with hunting, the wilderness and animals. The roots of this name have very ancient origins. From the Persian "arta" which is associated with the great mother of Nature, to goddess associations in Minoan Crete, Mycenaean and Indo-Eiropean cultures; the origins of this goddess can be traced back to Neolithic times.

The posture and face of this figure, exude a strength and grace worthy of the name.

1/8

PETRA

16”H x 6”W x 9”D

original: Stoneware fired in a traditional Cambodian wood-fire kiln with a steel base

Petra is a feminine name derived from the Greek petros which means stone. The sculpture draws symbolism from Peter the apostle who was crucified upside down, and was later canonized and venerated as Saint Peter. This female figure is therefore an archetype of the martyr. She represents the countless women that have suffered martyrdom and untold cruelties; their identifies are often nameless and their sacrifices erased from history. 

1/8

VERITAS

17”H x 6”W x 9”D

 

original: Stoneware fired in a traditional Cambodian wood-fire kiln with a steel base.

(limited edition of 5 bronzes with a steel base)

Veritas is the name of the Roman goddess of truth. In latin the word is also associated with the virtue of truthfulness. In ancient art, she is depicted both robed and naked holding a mirror (nuda veritas), the naked truth.

1/8

LIBERTAS

27”H x 11”W x 11”D

original: Stoneware fired in a traditional Cambodian wood-fire kiln with a steel base and kintsugi treatment.

Libertas is the Roman goddess of liberty. She is an emblem of freedom and reason and is often associated with the liberation of the oppressed. In Rome, she became a symbol of the shift to a republic and of slaves that had found freedom. Her image has inspired numerous works of art; most notably the painting by Eugène Delacroix, La Liberté guidant le peuple (Liberty Leading the People) which commemorates the French Revolution and depicts Libertas leading the people out of their oppression. Half a century later, the French sculptor Frédéric Auguste Bartholdi designed the Statue of Liberty (La Liberté éclairant le monde, Liberty Enlightening the World) which was offered as a gift from the people of France to the people of the United States. Since then she has become a global symbol of hope and a beacon of freedom who welcomes all groups displaced by war and seeking shelter, safety, and liberation.

 

This sculpture borrows from the Greek and Roman vases, which tell their stories through the use of figural ornamentation. Like in Liberty Leading the People, the figure of Libertas rises above the nine painted female warriors at the bottom. The rods carried by two of the figures are emblematic of the rod (vindicta) associated with Libertas and used in Roman ceremonies that granted slaves "freedom by the rod". In this case it is the female warriors themselves that hold the power of emancipation.

1/8

THUSIA

12”H x 8”W x 4”D

original: Stoneware fired in a traditional Cambodian wood-fire kiln with a steel base.

Thusia is old greek for sacrifice. Here we have a mother earth figure lying lifeless. She is the casualty of our transition from our ancient past in which we lived in balance with nature and worshiped the forces that made our survival possible. Our reverence for all forms of creation was reflected in our equalitarian social structures and our role as co-creators with nature.

The conquest mindset in which we take what we desire by force, reverses our contract with nature as we destroy indiscriminately and devalue all things we once revered. Here, it is the religion of conquest that sacrifices it's own future and offers it's own destruction as tribute for it's beliefs.

 

1/8

ALETHEIA

23”H x 7”W x 7”D

original: Stoneware fired in a traditional Cambodian wood-fire kiln with a concrete base.

Aletheia is truth or disclosure in Greek philosophy. She is the Greek equivalent of the Roman goddess Veritas, but in Greece she is more closely aligned with the concept of unconcealment. Her sincerity is countered by three forces, Dolos the god of trickery, Apate the goddess of deception, and Pseudologoi the gods of lies. 

1/8

DIOSA DE CUCUTENI (Goddess of Cucuteni)

66”H x 12”W x 11”D

Ceramics & wood, terracotta fired to cone 06, burnished and treated with terra-siggilatta

Cucuteni is an ancient culture ranging from 5500 to 2750 BC in Eastern Europe. Archeologists escavating their ruins have found numerous female goddess sculptures with bird like faces and head ornamentation. The Cucuteni-Trypillia people are known as an early neolithic egalitarian society with a strong focus on goddess worship.

1/2

DIOSA DE SIBOU (Goddess of Sibou)

19”H x 9”W x 9”D

Ceramics, unglazed terracotta, burnished and fired to cone 04

The Bribri are an indigenous people living in the Talamanca region of Costa Rica. To this day the Bribri's have managed to maintain their social structure and sacred traditions intact. The Bribri have a matrilineal clan structure, where women hold many important roles in society, such as determining the clan of a child through the mother's bloodline, being the sole inheritors of land, and the ones that prepare the sacred cacao drink used in their many rituals. Likewise, men are also given many important roles such as Shaman or "awa". These Awas possess a profound understanding of nature and have been known to cure many diseases that are considered incurable or terminal in western medicine.

I traveled with a friend and my wife to meet one of the few remaining Awas on a trip to Costa Rica. He went by Vicente, a spanish name, and communicated with us in spanish, but otherwise spoke Bribri to his family and during rituals. He was kind, energetic, and intensely knowledgable of all aspects of the world beyond his own. No doubt due to the many conversations he had been having with visitors throughout the years. Word of his many medical accomplishments had spread through word of mouth, one miracle at a time, from each of his grateful patients. Each one trekking for hours through dense jungle to reach him. Some were lucky to find a local guide while others made their own way with cryptic, hand-scribbled maps with notes on how to reach him.

Vicente, was thought to be over a hundred years old, but no one knew his real age, including a much younger brother. He was in perfect health, except for aching feet that now prevented him from finding the plants he needed to make medicine. He told us his ailing feet were do to age and thus could not be cured. I remember that he had the most amazing vision, often talking in great detail of frolicking birds in distant trees. He also spoke about being the last Awa in his region; his children an grandchildren never took the interest to take on this vast knowledge, gift, and responsibility.

The place I went to was known, roughly phonetically as Siboju, the land of Sibo. In Bibri, Sibö̀ is the word for the creator of the world and ù is the word for place.