¡Colores!; Interview with Frederico Vigil Part 1

kind of spoke about how those are influences and then those influences are kind of like what make you who you are. And so you said something about history, kind of taking you, you know, so maybe using the word history is where I'm falling off, is that where I'm falling off a little bit? I don't know, we'll dialogue it and pull it out something. History, the fascinating thing about history, the way that I'm looking at it now in my experience is and through the painting of the fresco in the Torion, learning the different cultures and what they offered and both positive and negative. So history to me is that we need to learn past history to make up what we're going to be

in future history. However, sometimes you can have an image and that represent a historical fact, a fact. And sometimes in history we don't learn those facts. We still continue to move on so history never ends, it continues to move up or down. Some time tells and that's what we'll find out. Right, so if we don't see something about the facts, does that matter and attention to the points? Well, I was working on an image with Cortes and Montesuma. Here comes Cortes into Mexico City,

one of the most amazing things, it's unbelievable, the way it was described, that was so beautiful in most aspects. And I was wondering, do I paint Cortes? Do I have an image of that man of what he did? And I decided not to, I did put Malincha because that's the mother, the mix. I don't look at her as a traitor or what because she had sons from Cortes. And then I look at this woman who knew Spanish, knew Nawa, was able to communicate, what kind of a brain was that. So I put Montesuma because he thought it was going to be Ketsa Colaro, it was going to come back at that time period. Otherwise, I don't think Cortes would even

got close to the door. But then you look at this kind of ritual and ceremony. So as taking off hearts from 25 ,000 people in a ritual and just putting them down for the sun, is that good or bad? I wasn't there, but that's a historical fact. Do we learn from that? Are we learning the same thing as we are doing now? One atom bomb, 45 ,000 people gone in a second. So these are some of the things that individuals and themselves will have to dialogue and leader will have to see. I don't know, there's a lot of information in there, so it's just

something to digest and to talk about. Right? And so what does that offer? That offers us the thing that we continue to learn past history and history is always developing and moving forward and how the leaders and the future societies will implement. So as an artist, you've got to have a little bit of a say in offering important information for people to think about. It went down to the fundamentals of the four elements, again, and that's why I had it on the top of the skylight. I think if we all live in simplicity and what we need, not more, not less, pass it on if you don't have it and kind of share, which is really difficult in this materialistic society,

but it goes back to elements. I love the meditations of these scenes, very simple, air, water, land, family, things like that, but with the four elements, minus one, we ain't going to do it, it isn't going to happen. And so it's kind of a lesson in wisdom, what do you think you've offered us? I think if the fresco offered was to think about things, to look into further yourself or an individual, to maybe want to research something in history, and then communicate. That's what's so nice about what's happening on communicating with, because of the fresco, otherwise I wouldn't be here,

communicating, speaking. Can you say that last bit one more time, because you ended up communicating and speaking, but I kind of want a full sentence, a fully sense, like maybe you could say the fresco is a chance for me to communicate, or I don't want to put words in your mouth, but it's something that's kind of, because I think that's what you're trying to say, so I just want it to be clear, so people aren't, so they're not, so they're sure. The fresco, because of the imagery that was created over a nine year period, for a design that took two years and seven months to be approved, it offers, for me, the idea to communicate

what I had painted to individuals for when they see it, they then can communicate in their own mind, researching historical facts, or who knows, maybe we'll have another fresco painter that's going to have another toryon, or the continuation of what the cultures are going to bring. Almost. I mean, I like what you're saying, I just want it to be, maybe very simple, the fresco is the fresco of what it says, of the imagery, of all of what it says, from the Iberian Peninsula as to who they were, Mesoamerica as to who they were, and are, and the southwest as to who we are, who we are, because

without that triad of genetics, I wouldn't be here. So, the fresco lays the foundation, the basis to each individual, to look into themselves, to see who they are, and what experience they'll have as they look forward in their history, and in the future, or what will happen. So, there he is, like, how did you describe it? History is la vida, life, that's what it is, past, present, future. Finally,

some of the preliminary drawings, as you can see here, this is the, this figure came out, that was the idea of imperialism, from the Iberian Peninsula, the kings and queens. I think I put something else with signifying Monte tanto, tanto, Monte is a welcome for Nando. And this is the Mourish architecture, this day, this was the Alhambra, the Leones on the Alhambra. And this is for a long, this moved into the Roman long, which is the bull, and there's a Roman senator in the back there. And here, see what happened here? You see, this state, very important, Padre

Martínez, the respect to Alhambra is la pas. And I respect your rights, I respect my rights, that brings harmony to society. Or mecha head stayed, the ball player stayed, I have two here, the, over here I put the concept of the zero, or the quinto sort. I was wondering, what's that one? Yeah, the quinto sort, over here, some place, with the corn stays, this is the oldest Stella of the image of Ketsakuaro. Look how interesting this is, this figure's in here. The Chokmult stayed, with a rocha, the Inka, I moved over here, pyramids, and I took Cortesov. You can see here, Padre Martínez stayed,

Malicchi, and Mote suma. The Jaguar, I think, I moved here. So do you think, maybe you can get like that, and get kind of blind, and just one more? There'll be big. Okay, well we'll have to look. Maybe we can just unroll this one again. What do you think? That's just a better job with these. Okay, sounds good. I like it from over here. We're trying to get, but I want you to see this. So we can get a shot of them unrolling it

from here, and then you can get a shot from Well, prior to the original. But Jaguar, it's amazing. All

right, I'm back. Kind of good. Yeah, I did a medium like that. A little bit of your journey's beautiful. No. So is this the key that? Okay. This one here? Yeah, good. Okay, I know. I've got a top.

You do? Yeah. I'll unroll the other one. Okay. Let's get back one more time. And you can use those hands over there. That's good. Roll it in. Okay. Okay. Put

you used to keep it flat, so it's going to get shot of you putting that glass on you. Okay. Okay. Okay. Okay, so now let's,

yeah. So get the closer and then just put that glass on you. Okay. Um, maybe I'm going to have you get it on and then I'll do put it on with your hand now. Okay, go ahead. Okay, perfect. All right. Okay.

Just maybe you can do a hand from your right to your left, just like me. Come on.

There you go. Okay. Come on away.

Okay. I would say turn just a little bit because you've just got the edge of that tree. Okay. Okay.

Okay. Okay. Okay.

Okay. Okay. Okay. Okay. Okay. Okay.

Okay.