About LL

Every culture has its idioms and icons -certain words and images that transcend the literal and reside in the psyches of the people. This installation entitled “La Lotería: An Exploration of México” explores some of the ubiquitous images of Mexico by using the format of La Lotería, a popular Mexican game of chance. This artwork has drawn upon Mexican traditions, historical figures, gastronomy, and popular culture, translating them into images familiar and recognizable to those who have experienced this distinctive culture. The purpose of this installation is to inspire interest, understanding, and dialog between the people of the United States and Mexico.

The images depicted in this
installation run the gamut from
the mundane to the obscure. Anyone who has crossed the border, ventured into the central highlands, or spent time on the beaches of Mexico will find some or most of these images familiar. Each image was created independently without reference to the others. Despite this, certain themes may be discerned within the installation. Food, for example, often has strong ties to the national identity. When consumed, it often evokes memories of childhood and family. The food depicted within this installation is found throughout Mexico -including churros (no.49), nopales (no. 19), horchata (no. 17), pozole (no.50), and others (no. 15, 22, 24, 29, 35, 44).

On the surface, Mexico may appear to be a homogeneous society in regards to its Catholic beliefs. However, faith is practiced in a wide spectrum. This ranges from the traditional objects of devotion -candles (no. 16), ex-votos (no. 26), milagros (no.36), and handcarved saints (no. 11) - to images of the pope depicted as a Day of the Dead sugar skull (no.23), magical powders (no. 33), and the ever-present diablito (no. 21) who provides temptation in all forms.

The male figures in this installation embody many of the traits most admired in Mexican culture. We see the machismo of the street-corner fire breather (no. 5) and the professional wrestler (no. 7). We see the quiet dignity of the unassuming humanitarian physician Dr. Jose Gregorio Hernandez (no. 3), so widely revered throughout Latin America. Ironically, perhaps the two most recognized men within this series are masked. Since pre-Columbian times, Mexico has been enamored with the mask. It serves as both a shield and a hiding place. The famous good-guy luchador El Santo (no. 9) and the popular spokesperson for the Zapatista movement, Subcommandante Marcos (no. 39), each represent a masked champion whose silent face embodies the face of millions.

The female figures of this series also represent strong individuals whose actions have had an impact on many, even if their voices were heard by only a few. Number 12 refers to the pious nuns whose portraits were painted upon entering the 17th century convents, and number 51 to the prostitutes who would indicate their availability via their surrogate dolls. We see the revolutionary Doña Josefa Ortiz de Domínguez (no.52) Whose whispers helped free Mexico from Spain, and the Virgin of Guadalupe who spoke only to Juan Diego and became the crucial link between European Catholic and indigenous spirituality. No other woman’s image is as widespread as this Virgin’s, whose depictions run from the divine to the sublime, from high art to kitsch (no.47).

Mexico offers a broad spectrum of popular and high culture, from the fashionable modern soap opera (no.54) and the graphic novels of the historietas (no. 18) to the famed poet Sor Juana Inés de la Cruz (no. 32). How poignant to realize that Sor Juana’s works were deemed scandalous and she was ostracized in her own lifetime, yet her face now graces the Mexican currency used to purchase the necessities of life -a perfect example of how sometimes irony and humor are often unintentionally juxtaposed in Mexican culture. This installation embodies only a portion of the diversity of Mexico, and its aim is to give viewers from other cultures a sense of the richness of Mexican culture. Viewers will also see that the people of Mexico share many of the same motives and beliefs as any other people -including desire (no.2), liberty (no.38), and a sense of destiny (no.40).

		Every culture has its idioms and icons -certain words and images that transcend the literal and reside in the psyches of the people. This installation entitled “La Lotería: An Exploration of México” explores some of the ubiquitous images of Mexico by using the format of La Lotería, a popular Mexican game of chance. This artwork has drawn upon Mexican traditions, historical figures, gastronomy, and popular culture, translating them into images familiar and recognizable to those who have experienced this distinctive culture. The purpose of this installation is to inspire interest, understanding, and dialog between the people of the United States and Mexico. The images depicted in this installation run the gamut from the mundane to the obscure. Anyone who has crossed the border, ventured into the central highlands, or spent time on the beaches of Mexico will find some or most of these images familiar. Each image was created independently without reference to the others. Despite this, certain themes may be discerned within the installation. Food, for example, often has strong ties to the national identity. When consumed, it often evokes memories of childhood and family. The food depicted within this installation is found throughout Mexico -including churros (no.49), nopales (no. 19), horchata (no. 17), pozole (no.50), and others (no. 15, 22, 24, 29, 35, 44). On the surface, Mexico may appear to be a homogeneous society in regards to its Catholic beliefs. However, faith is practiced in a wide spectrum. This ranges from the traditional objects of devotion -candles (no. 16), ex-votos (no. 26), milagros (no.36), and handcarved saints (no. 11) - to images of the pope depicted as a Day of the Dead sugar skull (no.23), magical powders (no. 33), and the ever-present diablito (no. 21) who provides temptation in all forms. The male figures in this installation embody many of the traits most admired in Mexican culture. We see the machismo of the street-corner fire breather (no. 5) and the professional wrestler (no. 7). We see the quiet dignity of the unassuming humanitarian physician Dr. Jose Gregorio Hernandez (no. 3), so widely revered throughout Latin America. Ironically, perhaps the two most recognized men within this series are masked. Since pre-Columbian times, Mexico has been enamored with the mask. It serves as both a shield and a hiding place. The famous good-guy luchador El Santo (no. 9) and the popular spokesperson for the Zapatista movement, Subcommandante Marcos (no. 39), each represent a masked champion whose silent face embodies the face of millions. The female figures of this series also represent strong individuals whose actions have had an impact on many, even if their voices were heard by only a few. Number 12 refers to the pious nuns whose portraits were painted upon entering the 17th century convents, and number 51 to the prostitutes who would indicate their availability via their surrogate dolls. We see the revolutionary Doña Josefa Ortiz de Domínguez (no.52) Whose whispers helped free Mexico from Spain, and the Virgin of Guadalupe who spoke only to Juan Diego and became the crucial link between European Catholic and indigenous spirituality. No other woman’s image is as widespread as this Virgin’s, whose depictions run from the divine to the sublime, from high art to kitsch (no.47). Mexico offers a broad spectrum of popular and high culture, from the fashionable modern soap opera (no.54) and the graphic novels of the historietas (no. 18) to the famed poet Sor Juana Inés de la Cruz (no. 32). How poignant to realize that Sor Juana’s works were deemed scandalous and she was ostracized in her own lifetime, yet her face now graces the Mexican currency used to purchase the necessities of life -a perfect example of how sometimes irony and humor are often unintentionally juxtaposed in Mexican culture. This installation embodies only a portion of the diversity of Mexico, and its aim is to give viewers from other cultures a sense of the richness of Mexican culture. Viewers will also see that the people of Mexico share many of the same motives and beliefs as any other people -including desire (no.2), liberty (no.38), and a sense of destiny (no.40).	Cada cultura tiene sus propios idiomas e "íconos", imágenes que sobrepasan lo literal y residen en la mente de la gente. Esta exposición titulada "La Loteria: Un Recorrido por México", estudia algunas de las imágenes más representativas de México, utilizando el juego de la Lotería, un juego mexicano de azar muy popular. Esta instalación se ha basado en las tradiciones Mexicanas, las figuras históricas, su gastronomía, y la cultura popular,representándolas con imágenes familiares para quienes conocen esta cultura tan especial. El propósito de esta exposición es el de inspirar interés,comprensión y diálogo entre los gente de los Estados Unidos y México. Existe una gran gama de imágenes en la presente exposición, desde lo mundano hasta lo sombrío. Cualquiera que haya cruzado la frontera, o visitado la tierra mexicana o sus playas, se podrá relacionar con la mayoría de estas imágenes. Cada imagen ha sido creada de forma independiente, sin referencia directa unas de otras. No obstante, hay algunos temas que se pueden hilar. Por ejemplo, ciertos alimentos frecuentemente tienen fuertes asociaciones con una identidad nacional. Al consumirlos casi siempre se evoca a la niñez y la familia. Los platillos que aquí se presentan se pueden encontrar en todo México: por ejemplo Churros (Nº 49), Nopales (Nº 19), Horchata (Nº 17),Pozole (Nº 50), y otros (Números 15, 22, 24, 29, 35, 44). Aparentemente México podría considerarse una sociedad homogénea con respecto a sus creencias religiosas. Sin embargo, la fe se practica de muy diversas formas, desde los objetos de devoción tradicionales, como las Velas (Nº 16), Ex-votos (Nº 26), Milagros (Nº 36), y santos tallados a mano (Nº 11), hasta el Dia de Muertos representado con una "calavera" de azúcar (Nº 23), los Polvos Mágicos (Nº 33), y la figura siempre presente del "Diablito" (Nº 21), que representa tentaciones en todas sus formas. Las figuras masculinas contienen algunos de los rasgos más admirados en los personajes de la cultura mexicana. Podemos observar el machismo del Tragafuegos que está en las esquinas (Nº. 5) y el Luchador Profesional (Nº 7). Observamos la tranquila dignidad del médico Dr. José Gregorio Hernández (Nº 3), tan venerado en Latinoamérica. Irónicamente quizás los dos hombres más reconocidos en esta serie están enmascarados. La máscara sirve como un escudo y como un escondite de la personalidad. El famoso Luchador "bueno" El Santo (Nº 9) y el popular portavoz del movimiento zapatista el Subcomandante Marcos (Nº 39), representa cada uno un campeón enmascarado. Las figuras femeninas también representan una individualidad muy fuerte cuyas acciones han impacto a muchos, aun cuando sus voces fueron escuchadas por pocos. El número 12 se refiere a las Monjas Piadosas cuyos retratos se pintaron a principios del siglo 17, el número 51 representa las prostitutas quienes indicaban su disponibilidad por medio de las muñecas de trapo. Vemos a la Corregidora, Doña Josefa Ortiz de Domínguez (Nº 52) cuyo aviso oportuno ayudó a México a librarse del conquistador español, y a la Virgen de Guadalupe que se le apareció a Juan Diego y se convirtío en el eslabón entre los europeos católicos y la espiritualidad de los indígenas. Ninguna otra imagen de mujer alguna es tan popular como la de la Virgen de Guadalupe, cuyas representaciones van de lo divino a lo sublime, del arte a lo popular(Nº.47). México ofrece una amplia gama de cultura y arte popular, de la telenovela moderna (Nº 54) y las historietas y fotonovelas Nº 18), hasta la afamada poetisa Sor Juana Inés de la Cruz (Nº 32). Los trabajos de Sor Juana le fueron marginados en vida, ya que en aquella época se consideraron escandalosos; sin embargo, actualmente su rostro aparece en la moneda mexicana, lo cual es un ejemplo perfecto de cómo la ironía y el humor, muchas veces sin intención, van de la mano en la cultura mexicana. Esta exposición tan sólo representa una pequeña parte de la gran diversidad de costumbres que existen en México, y su propósito es ofrecer a los observadores de otras culturas, un sentido de la riqueza de la cultura mexicana. Los observadores también podrán ver que los Mexicanos muchas veces comparten las mismas creencias e ideología como cualquier otra persona, incluyendo Deseo (Nº 2), Libertad (Nº 38), y un cierta manera del Destino (Nº 40). top
	To view the Lotería paintings of this installation click here

				To view the Lotería paintings of this installation click here

	To view the Lotería paintings of this installation click here

				To view the Lotería paintings of this installation click here

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		To view the Lotería paintings of this installation click here
Teresa Villegas Installation, "La Lotería: An Exploration of México" 54 oil on wood panels each 14.25"x 9.5"x 2" (36cm x 24cm x 5cm) Installation size 10' x 27' (3meters x 8 meters)