installation view
“Tonalli, Teyolía, Ihíyotl: The Spirits In Us,” curated by exhibiting artist Mauricio Zúñiga and supported by Bernadette Esperanza Torres, is an assertive exploration of ancestral energy. Taking its name from the Nahua belief in three distinct soul entities residing within the body—Tonallí (in the fontanel, an area of the skull), Teyollía (in the heart), and Ihíyotl (in the liver) —the show weaves together the works of Zúñiga, Robert Castillo, and Vincent Medellin. Torres said she envisioned the installation as a central plaza in the heart of Mexico.
Castillo’s work embodies versatility and growth, showcasing his journey as a self-taught artist. Some of his work defies categorization, his creative spirit unbound by a single subject or technique. While echoes of Dali resonate throughout, Castillo’s distinctive viewpoint and careful attention to detail, particularly in his pencil work, imbue each creation with a characteristic ingenuity.
His “Una carta para los españoles” challenges dominant narratives through drypoint engraving on paper, creating a powerful juxtaposition in Maya with the Spanish translation inverted.
This exhibition follows Castillo’s success internationally; he recently exhibited in Ercolano, Italy. “It’s lovely to focus and concentrate in these energetic centers and create within that energy,” he said.
Vincent Medellin is stepping fully into his artistic power, exploring the possibilities of representation. From his early paintings of migrant children to his current exploration of pop culture, Medellin utilizes conventional and unconventional materials, such as plastic bags, to convey the essence of his subjects. Medellin’s trajectory seems almost inevitable, as he grew up surrounded by action figures. He creates digital and print work that reimagines Mexican American faces as anime and manga characters, reflecting his and others’ experiences like him.
His playful series “Pop-Rashquachismo” is part of the exhibit. “Pop-Rashquachismo #1” is particularly captivating, its subject gazing with an expectant expression, inviting us to contemplate our yearnings. Across the gallery, three of Medellin’s portraits representing past, present, and future depict the ancestral yearning for a possible future. “It doesn’t have to be a small future for us; it can be monumental,” Medellin asserts, “We can imagine ourselves there.”
The show’s opening reception was held Feb. 6, and although Mauricio Zúñiga was not in attendance due to travel complications, his work made a powerful impact. His pieces are intensely poetic, each accompanied by a declaration rather than a title, amplifying the raw energy they exude. Each work is an instinctual experience, leaving the viewer ruminating in their curiosity.
Torres’ support was crucial in realizing Zúñiga’s vision, which shines through in the thoughtful arrangement of pieces, each sparking a multi-layered response from the others, creating a dynamic synergy that resonates throughout the gallery space. This exhibition is an active conversation between artists, generations, the viewer, and the art itself.
“Tonalli, Teyolía, Ihíyotl: The Spirits In Us” continues at the Carter Art Center Gallery at Metropolitan Community College—Penn Vallery, 3201 SW Trafficway, through the March 7 closing reception. Hours are 1 to 5 p.m. Wednesday-Friday and noon to 3 p.m. Saturdays. The closing reception continues to 6 p.m. For more information, 816.604.4752 or mcckc.edu/campuses/penn-valley/carter-art-center.aspx.
Photos by Bernadette Esperanza Torres, Art Professor and Gallery Director of The Carter Art Center Gallery and Elise Hanson, Assistant Gallery Director
