Jose
Maria (Chema) González Cox, known as Chema Cox, is the grandson of the sister of Rafael
González, San Pedro's first painter. Economically impoverished like many other Pedranos,
he was determined to get an education to become a schoolteacher, and financed his studies
in Quetzaltenango by selling drawings and paintings. He then returned to San Pedro and obtained a teaching position.
Indigenous People of Guatemala, 2000
27" x 39", digital iris print on paper
edition of 45
Unfortunately, and perhaps because of his intellectual nature, he came under
suspicion by the military operating in San Pedro at that time. He and another teacher were
kidnapped, beaten, and jailed. His mother sold her coffee and cornfields to pay the
kidnappers a ransom, but Chema was not released. Discovering a trap door in the ceiling of
his cell, he fled to Mexico until some years later, when word arrived that the military
members had been arrested. He returned, married, and now has three daughters.
Procession in San Pedro (circa 1941), 2000
27" x 39", digital iris print on paper
edition of 45
Seeking
a unique approach, Chema diverged from the typical Pedrano style of painting and adopted
the more European style practiced by painters in Antigua Guatemala. He began working in
paler tones, eventually turning to watercolors. Chema paints late into the night because,
since the beatings by the military, he can only sleep a few hours each night. His
watercolors, which portray man in the context of a vast nature, have grown increasingly
accomplished. Chema's depiction of the Mayan world, done in a European style, offers an
effective counterpoint to the purely Mayan graphic style practiced by the other Tz'utuhil
artists. He uses his art earnings to help school children in some of the poor towns on the
other side of lake Atitlán, and to build a Tz'utuhil regional cultural museum.
Selling Ice Cream, 2000
40" x 27", watercolor on paper
Choosing the New Mayor, 2000
19.5" x 27", digital iris print on paper
edition of 45
This work illustrates Chema's influence from the western
painting, as the boats are layered in a semi abstract pattern. Although the technique is
modern the subject matter is traditional. The depicted canoes are still handmade by
craftsmen, who use natural tree sap to act as wood sealant. The women in the background,
washing their clothes in the lake, give further context to the setting.
Canoes, 1999
40" x 27", watercolor on paper
With a giant volcano in
the background and the prominent figure in the foreground, this work is bigger than life.
It pays tribute to a Mayan elder, as distinguished by his black coat. He is drinking atol
(traditional rice drink) from a bowl made of gourd. The gourd is finely finished and
painted in lacquer, signifying its use for special occasions.
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Jose
Maria (Chema) González Cox, known as Chema Cox, is the grandson of the sister of Rafael
González, San Pedro's first painter. Economically impoverished like many other Pedranos,
he was determined to get an education to become a schoolteacher, and financed his studies
in Quetzaltenango by selling drawings and paintings. He then returned to San Pedro and obtained a teaching position.
Unfortunately, and perhaps because of his intellectual nature, he came under
suspicion by the military operating in San Pedro at that time. He and another teacher were
kidnapped, beaten, and jailed. His mother sold her coffee and cornfields to pay the
kidnappers a ransom, but Chema was not released. Discovering a trap door in the ceiling of
his cell, he fled to Mexico until some years later, when word arrived that the military
members had been arrested. He returned, married, and now has three daughters.
Seeking
a unique approach, Chema diverged from the typical Pedrano style of painting and adopted
the more European style practiced by painters in Antigua Guatemala. He began working in
paler tones, eventually turning to watercolors. Chema paints late into the night because,
since the beatings by the military, he can only sleep a few hours each night. His
watercolors, which portray man in the context of a vast nature, have grown increasingly
accomplished. Chema's depiction of the Mayan world, done in a European style, offers an
effective counterpoint to the purely Mayan graphic style practiced by the other Tz'utuhil
artists. He uses his art earnings to help school children in some of the poor towns on the
other side of lake Atitlán, and to build a Tz'utuhil regional cultural museum.
This work illustrates Chema's influence from the western
painting, as the boats are layered in a semi abstract pattern. Although the technique is
modern the subject matter is traditional. The depicted canoes are still handmade by
craftsmen, who use natural tree sap to act as wood sealant. The women in the background,
washing their clothes in the lake, give further context to the setting.
With a giant volcano in
the background and the prominent figure in the foreground, this work is bigger than life.
It pays tribute to a Mayan elder, as distinguished by his black coat. He is drinking atol
(traditional rice drink) from a bowl made of gourd. The gourd is finely finished and
painted in lacquer, signifying its use for special occasions.
Amit May Fine Arts