Sandra Monterroso



Guatemala is the second Latin American country with the largest indigenous populations in relative terms (over 40%), mainly composed of 22 ethnic-linguistic communities of Mayan origin. As shown in the map of Guatemala different Mayan languages​​, the Maya Q’eqchi ‘is one of the most spoken languages ​​in Guatemala and Belize.
However, if one takes a look at the drawn out map of world languages, the Mayan languages disappear and are invisible.  Therefore, geopolitically and linguistically, the Mayan Q’eqchi’ language is nonexistent on a global level.  Sociologically speaking, who do these marginalized populations belong to on the global social spectrum?  And how does an individual personality relate to a global collective space?
Through the work of art as a shared meaning, a very strong emotional force of a particular which can spread in wider contexts. There are also culture subjects that distinguish and also allow universal symbols. We should not understand culture as homogeneous, static and unchangeable. Beyond conferring new meanings through art work, I search into these “areas of stability and persistence” in “mobility zones” and “areas of change” meeting in the field of art space where it can be shared, thus involving the subject, there is no culture without a subject or subject without culture, culture is also the difference operator.
I am interested in taking my artwork to make a playful exercise of qualitative research, to investigate environments, contexts and cultures. Since I work with different media in the visual arts, some works are more focused on the process of finding other interconnection networks that in the results, which is finally an acquired act of my life and therefore is much autobiographical or environmental of the context, but more in the sense of Self determination meaning proposed by Linda Tuhiwai for healing, survive, recovery, mobilization, transformation and decolonization purpose.
Since my grandmother was from the Mayan Q’eq’chi’ community at the north of Guatemala, especially knowing what she went through in the past by being indigenous, all kind of discrimination and racism forms of exclusion. In the moment I knew about the history of my grandmother and what she suffered in the past I have recognized that I am a Mayan descent, and began through the work of art start making my own point of view of claiming a critical and essential aspect of decolonization. So I have been working on these issues since 2002.
Whereupon the research is based in analyze Decolonial Aesthetics theory mixed with the concept of Latin American and not occidental theory, like for example Walter Mignolo to establish the difference between  postcolonialism and decolonialism. The research will include the studies of Decolonizing Methodologies, class and power, for indigenous people in the word, and the link this issue has with European Colonialism, and how we lead with memory in present.
I am interested in continuing working with thread, wood, organic and industrial materials as well the paradox of discoloration and volatility in relationship with decolonial aesthetic practices.  And bring it together to present several pieces of video art, objects sculptures and Instalations.


image1-smPONDERING THE MISTAKE, 2008. Photo taken during filming the videoart.
image2-smPONDERING THE MISTAKE, 2008. Videoart still.
image3-smPONDERING THE MISTAKE, 2008. Videoart still.
SANDRA MONTERROSO. Master Degree in Design Process, in UPAEP, Puebla, Mexico. Graphic Design in Guatemala. Philosophy for Peace studies in Spain. With eight individual exhibitions, and over thirty international collective exhibitions, she has win several prizes and scholarships.