Children’s book: The Village that was Buried by an Erupting Volcano by @fridalarios

Design, El Salvador, Frida Larios, Language, New Maya Language, Washington DC

Publicado para los niños y niñas de mesoamérica el 6 de marzo de 2014 por la Dirección Nacional de Patrimonio Cultural, Secretaría de Cultura de la Presidencia, con el apoyo de Boquitas DIANA de Centroamérica./Published for all Mesoamerican boys and girls on march 6, 2014 by the Dirección Nacional de Patrimonio Cultural, Secretaría de Cultura de la Presidencia, with the support of DIANA de Centroamérica.

Versión trilingüe: español, inglés y pictoglifos© del Nuevo Lenguaje Maya©. Con una actividad de cortar, pegar y crear pictoglifos©/Trilingual version: English, Spanish and New Maya Language© pictoglyphs©. With a cut, paste and pictoglyph© creation activity.

La Aldea que fue Sepultada por un Volcán en Erupción es la verdadera historia acerca de una comunidad de población Indígena maya que fue sepultada y preservada por ceniza volcánica por casi 1500 años. Abriendo con un prefacio del Dr. Payson Sheets, arqueólogo del sitio, fue escrita e ilustrada por Larios. La narrativa fue inspirada en su primer hijo Yax (el Niño Verde) y el sitio arqueológico Patrimonio de la Humanidad de UNESCO: Joya de Cerén. 

The Village that was Buried by an Erupting Volcano is the real story about a community of Maya Indigenous peoples buried and preserved under volcanic ash for nearly 1500 years. Opening with a foreword by the site’s archaeologist, Payson Sheets, PhD, it was written and illustrated by Larios. The narrative was inpired by her first son Yax (the Green Child) and the UNESCO World Heritage Joya de Cerén archaeological site. 
PREFACIO

Estoy contento y honrado de escribir un prefacio al maravilloso libro de niños de Frida Larios sobre el antiguo pueblo maya de Joya de Cerén. Debido a que personas de todas la edades vivían y jugaban en su pueblo Maya hace unos 1400 años, desde bebés y niños hasta los adultos y las personas mayores, es oportuno que la información sobre la vida en la aldea se difunda a los salvadoreños y de todas las edades. Estoy profundamente satisfecho de que Frida Larios ha escrito e ilustrado este libro para que los niños pueden aprender sobre su herencia profunda desde hace tantos siglos. En Joya de Cerén vemos las raíces de las familias salvadoreñas de hoy. Y las necesidades básicas
de las familias de hoy en día son muy parecidas a las de ayer, ya que los padres necesitan alimentar y vestirse a ellos mismos y sus hijos, y proporcionar refugio. Ellos necesitan almacenar y procesar los alimentos, y tienen que cooperar con sus vecinos para el mejoramiento de todos. Es mi esperanza que este cautivante libro sea ampliamente disponible para los salvadoreños y otros que visitan el sitio arqueológico, y en muchos otros lugares en todo el país. Todos tenemos una deuda de gratitud con Frida Larios.

Payson Sheets, PhD
Profesor del Departamento de Antropología Universidad de Colorado, Boulder, EE. UU.

FOREWORD

I am pleased and honored to write a foreword to Frida Larios’ wonderful child’s book about the ancient Maya village of Joya de Ceren. Because all ages of people lived and played in their Maya village about 1400 years ago, from babies and children to adults and the elderly, it is appropriate that information about life in the village be disseminated to Salvadorans of all ages today. I am deeply gratified that Frida Larios has written and illustrated this book so children can learn about their deep heritage from so many centuries ago. At Joya de Ceren we see the roots of Salvadoran families of today. And the basic needs of today’s families are much like those of today, as parents need to feed and clothe themselves and their children, and provide shelter. They need to store and process food, and they need to cooperate with their neighbors for the betterment of all. It is my hope that this compelling book be widely available to Salvadorans and others that visit the archaeological site, and in many other venues all across the country. We all owe a debt of gratitude to Frida Larios.

Payson Sheets, Phd
Professor, Department of Anthropology University of Colorado, Boulder, USA 

Front Cover

Front Cover

End paper

End paper

Foreword

Foreword

Story page 1

Story page 1

Bio and summary

Bio and summary

End paper

End paper

Taller en el sitio

Taller en el exterior del Centro de Interpretación del parque arqueológico de Joya de Cerén con niños del Colegio Alfonsina Storni del Sitio del Niño

Taller en el sitio

Taller en el exterior del Centro de Interpretación del parque arqueológico de Joya de Cerén con niños del Colegio Alfonsina Storni del Sitio del Niño

Edición

Edición

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95 years, 95 posters: Frida Larios poster selected for the #Mandela Poster Project Collection

Africa, Art, El Salvador, Frida Larios, Graphic Design, Honduras, Language, New Maya Language, South Africa, Tegucigalpa, Tyler Orsburn

Emerging-Underworld-Serpent-2-OUT-01  Photo courtesy of Eyescape 976336_486329781451007_1499123082_o 1072602_486329108117741_528142740_o Luis Yañez (Mexico) 1074829_485817071502278_842916305_o Alexis Tapia (Mexico) University of Pretoria  Photo courtesy of University of Pretoria  Photo courtesy of Ben Curtis.  Photo courtesy of Ben Curtis.  Photo courtesy of Ben Curtis.  Judge Yvonne Mokgoro, chairwoman  of the Nelson Mandela Children's Fund  Photo courtesy of Eyescape© 057444

Pretoria, South Africa – In May 2013, a group of South African designers came up with than idea to celebrate the life of Nelson Mandela by collecting 95 exceptional posters from around the world, honouring Madiba’s lifelong contribution to humanity.

The independent team of volunteers, now known as the Mandela Poster Project Collective, gave freely of their time and expertise to make the exceptional happen: In 60 days more than 700 posters were submitted by designers from more than 70 countries. The collection was curated and 95 posters (representing 95 years of Madiba’s life) will be exhibited around the world and will eventually be auctioned by the Nelson Mandela Children’s Hospital Trust to raise funds. In lieu of the high calibre of works received, it was felt more works needed to be showcased than the original 95. Plans are underway for a limited edition publication showcasing 500 of the posters submissions. The collective echoes the sentiments of South Africa’s beloved former president when he said “a good head and a good heart are always a formidable combination.”

Selected designers for the Mandela Poster Project 95 exhibition collection:

Abbas Majidi (Iran)
Aimilios Galipis (Greece)
Alan Grobler (South Africa)
Albina Aleksiunaite (Lithuania)
Alessandro Di Sessa (Italy)
Alexis Tapia (Mexico)
Ana Ivette Valenzuela (Mexico)
Ana Paula Caldas (Brazil)
Anton Odhiambo (Kenya)
Aubin A Sadiki (Democratic Republic of the Congo/South Africa)
Bibi Seck (USA)
Bradley Kirshenbaum (South Africa)
Brenda Sanderson (Canada)
Bruno Porto (Brazil)
Byoung il Sun (South Korea)
Carlos Andrade (Venezuela)
Celesté Burger (South Africa)
Charis Tsevis (Greece)
Claudia Tello (Mexico)
COP Youth Congress (Trinidad and Tobago)
Cristina Chiappini (Italy)
David Copestakes (USA)
David Iker Sanchez (USA)
David Tartakover (Israel)
David Teveth (Israel)
Derek Flynn (Canada)
Diego Giovanni Bermúdez Aguirre (Colombia)
Dominic Evans (South Africa)
Don Ryun Chang (South Korea)
Eduard Čehovin (Slovinia)
Elizabeth Resnick (USA)
Ellen Shapiro (USA)
Fabio Do Prado (UK)
Fabio Testa (Brazil)
Félix Beltrán (Mexico)
Fernando Andreazi (Brazil)
Frances Frylinck (South Africa)
Francesco Mazzenga (Italy)
Frida Larios (Honduras/El Salvador)
Gareth Steele (South Africa)
Garth Walker (South Africa)
Germán Jiménez Pinilla (Colombia)
Gyula Gefin (Canada)
Hervé Matine (France)
Hon Bing-wah (China)
Interbrand Shanghai (Sijing Chen, Hung Hsiang, Miaojie Li, Chuan Jiang) (China)
Interbrand New York (USA) (Craig Stout, Ross Clugston, Jessica Vernick)
Interbrand New York (USA) (Annalisa Van Den Bergh, Kristin Labahn)
Ithateng Mokgoro (South Africa)
Jacques Lange (South Africa)
Jacqui Morris (South Africa)
Jasveer Sidhu (Malaysia)
Javier Bulacio (Argentina)
Jeffrey Rikhotso (South Africa)
Jimmy Ball (USA)
Joël Guenoun (France)
José Luis Hernández “Chepe” (Mexico)
Juan Madriz (Venezuela)
Kyosuke Nishiada (Canada)
Lauriel Coscia (South Africa)
Lavanya Asthana (India)
Levente Szabo (Belgium)
Lin You Ting (Taiwan)
Lola Coudignac (France)
Luis Yañez (Mexico)
Majid Abbasi (Iran)
Marcelo Aflalo (Brazil)
Marco Cannata (South Africa)
Marco Tóxico (Bolivia)
Maria Papaefstathiou (Greece)
Marian Bantjes (Canada)
Martin Joel (Botswana)
Mervyn Kurlansky (Denmark/UK/South Africa)
Mohammed Jogie (South Africa)
Najeeb Mahmood (India)
Onica Lekuntwane (Botswana)
Onur Kuran (Turkey)
Pepe Menéndez (Cuba)
Rafael Nascimento (Brazil)
Rafiq Elmansy (Egypt)
Robert L. Peters (Canada)
Roberto Vilchis (China)
Roy Villalobos (USA)
Russell Kennedy (Australia)
Sally Chambers (South Africa)
Sindiso Nyoni (aka R!OT) (Zimbabwe/South Africa)
Sophia SHIH (Taiwan)
Steve Rayner (South Africa)
Sulet Jansen (South Africa)
Theo Kontaxis (Greece)
Thomas Blankschøn (Germany)
Travis Kennedy (Australia)
Unnikrishna Menon Damodaran (Bahrain)
Vesna Brekalo (Slovenia)
Vitor Andrade (Brazil)
Wessel Matthews (South Africa)
William Taylor (South Africa)
Zarina Mendoza (USA)

Mandela Poster Project collection traveling exhibitions:

– University of Pretoria, Department of Visual Arts, Main Campus, 18–26 July 2013

– The exhibition is at HP head office in Johannesburg until 10 August (printed version – viewing by invitation only)

– TEDxJohannesburg, 15 August (digital version – only accessible to registered delegates)

– Open Design Expo, Cape Town City Hall, 21-31 August (printed version – open to the public)

– SA Innovation Summit, IDC Johannesburg, 27-28 August (digital version – only accessible to registered delegates)

– Johannesburg City Library, 1-30 September (printed version – open to the public)

– Arts Alive 2013, Zoo Lake & Mary Fitzgerald Square, Johannesburg, 1-7 September (digital version – open to the public)

More international venues and dates to be announced soon.

Website: mandelaposterproject.org
Facebook: Mandela Poster Project

Surface Asia Magazine Publication: Rediscovering @Icograda #NewMayaLanguage

Australia, Design, Fashion design, Frida Larios, Jewellery Design, Kuching, Language, New Maya Language, New Zealand, Sarawak, Sustainable Design
(CLOCKWISE FROM FAR LEFT) Iban Tattoos by Ernesto Kalum; Karijini National Park Visitor Centre by David Lancashire; The Teraph Cabinet series by Helmut Lueckenhausen; Green Child Puzzle by Frida Larios

(CLOCKWISE FROM FAR LEFT) Iban Tattoos by Ernesto Kalum; Karijini National Park Visitor Centre by David Lancashire; The Teraph Cabinet series by Helmut Lueckenhausen; Green Child Puzzle by Frida Larios

“In the process of globalisation, everybody is losing a bit of his individuality … It is very timely for us designers to explore this issue – to rediscover who we are, and to celebrate our unique heritage. Let us take a step back so that we can go forward.” Russell Kennedy, Icograda past president.

Text extract
Frida Larios is an Ambassador for INDIGO – the International Indigenous Design Network. Originally from San Salvador, Larios was inspired by Maya heritage, especially in the ancient Maya hieroglyphs. Her work during her postgraduate study gave birth to the “New Maya Language,” a set of twenty-three hieroglyphs that tells the story of her studied site, the Joya de Cerén UNESCO World Heritage Archaeological Site. The design process of “New Maya Language” involved streamlining the iconography of the ancient writing system and combining it with a modern visual vocabulary to create a standardised pictogram system that is comprehensible to contemporary audience. The result is a set of modern yet ancestral icons that is versatile in various applications: art, product and fashion design, brand identities, information design, wayfinding and education systems for archaeological sites and public spaces, as well as children’s toys. Larios says that:

“by reviving and celebrating the Maya cultural and visual identity, the ‘New Maya Language’ can inspire current and future generations and bring new life to the sacred stones.”

In keeping with the intention of safeguarding traditional culture, Larios has fostered close collaboration with indigenous craftsmen to produce items using local resources.
www.fridalarios.com

“Frida Larios: Businesswoman, Artisan, Preservationist” #NewMayaLanguage Feature Interview by Hat Trick Magazine, UK

Art, Copan, Design, Fashion design, Frida Larios, Graphic Design, Jewellery Design, Language, London, New Maya Language, Photography, Photojournalism, Sarawak, Sustainable Design, Tyler Orsburn, Washington DC

Excerpt from Hat Trick Magazine 9-page feature in their September 2012, Volume 1 Issue 2.

Frida Larios, International Indigenous Design Network (INDIGO) Ambassador, designer and creator of a new pictographic language.

1. Tell us a little bit about yourself?
I think it is safe to say that I am a multi-tasker extraordinaire. I went to a private German School (odd thing I know, but it was only a block away from my parents house) in San Salvador where I was raised. My peers in school always remember me painting with a full set of large-format paper, brushes and temperas displayed on my desk while paying attention and participating in a lesson about heavy German, Bertolt Brecht-type literature–all at the same time. I was attracted to both: art and sports since I was a little girl. From five until fifteen I was a gymnast representing my country at international level. I then moved on to indoor volleyball where I was part of the national team for five years and finally settled with beach volleyball. From 1996 until 2003 me and my partner were reigning Central American champions traveling in the FIVB Beach Volleyball World Tour across Europe and South America. Beach volleyball was my passion, but design was equally as inspiring and important to me, I had learned that since my school days, so I never ceased to do either. It wasn’t easy as it meant waking up at 5am every day for practice so that I could have a full day of study, while I was finishing college, or designing, while I was managing my design studio. Then in 2003 I moved to London to study a masters degree in communication design in one of the most prestigious design schools in the world: Central Saint Martins College of Art & Design sponsored by the government of El Salvador through a sister fullbright scholarship programme. I had already lived on and off in London and the west coast of England while I was completing a bachelors degree in Graphic Design at University College Falmouth.

2. What was the inspiration behind your New Mayan Language Art Project?
Being far away from my home country while living in London, but at the same time being so close to one of the mecca’s of contemporary art and culture brought me close to my own roots. Central Saint Martins College of Art & Design was two blocks away from the British Museum in Holborn, which holds the most beautiful carved lintels in the Maya world from the Yaxchilán site. Being in touch with both: thousands of years old and at the same time the most contemporary art expressions sparked the idea of reviving the dead Maya hieroglyphic language.

Continue reading the rest of the 12-question interview in Hat Trick’s ISSUU edition page 28.

Mi Diseño y Artesania Sostenible de Joyería seleccionado para Exhibición y Finalista para Premio Bienal Iberoamericana de Diseño en Madrid BID12

Design, Frida Larios, Jewellery Design, Madrid, New Maya Language, Sustainable Design
Banda-Celestial-Joyeria-Piedra-Pendientes-Brazalete

Banda Celestial colección de joyería sostenible en piedra, una de las tres colecciones bajo el tema Nuevo Lenguaje Maya seleccionadas por el jurado de la BID12

Manos-Coschando-Dijes-Jade-Piedra-Obsidiana

Manos Cosechando colección de joyería sostenible jade sobre piedra, una de las tres colecciones bajo el tema Nuevo Lenguaje Maya seleccionadas por el jurado de la BID12

Plantando_Semillas_Huipil_Pasarela

Plantando Semillas huipil fabricado a mano bajo el tema Nuevo Lenguaje Maya. Parte de colección de ropa seleccionada por el jurado de la BID12

Mi trabajo Nuevo Lenguaje Maya: Manos Cosechando y Banda Celestial ha sido seleccionado para formar parte de la Exposición BID12 y es uno de los finalistas a los diferentes premios de esta edición.

La exposición BID12 tendrá lugar en noviembre de 2012. La semana inaugural de la BID será del 26 al 30 de noviembre.

Para la producción de esta línea de accesorios, Frida entrenó a talladores de origen indígena mesoaméricano en una técnica que mezcla de forma innovadora recursos nativos como el jade, la obsidiana, piedra toba y plata reciclada, rescatando así artesanía y habilidades ancestrales en peligro de extinción.

Las narrativas visuales de los diseños recomponen los significados y formas de los jeroglíficos mayas de 2000 años de antigüedad y permiten al portador leer y aprender de formas de vida indígena actuales y ancestrales.

Artículo de El Nuevo Lenguaje Maya como en UnosTiposDuros.com

Art, Design, Frida Larios, Graphic Design, Language, Madrid, Mexico, New Maya Language

El Nuevo Lenguaje Maya en UnosTiposDuros

Enviado por  el Martes, 14 agosto 20124 Comentarios

Frida Larios ha rediseñado los jeroglíficos de 2000 años de antiguedad de los nativos mayas para crear un nuevo lenguaje 100% visual. Frida ha construido un conjunto de pictogramas que ha recopilado y decodificado en un libro didáctico con el mismo título. El Nuevo Lenguaje Maya es accesible a cualquier persona interesada en la compleja escritura maya. Su metodología de rediseñar, recomponer y aplicar a la vida contemporánea el contenido de una escritura ancestral, es única. Inspirada por los polifacéticos mayas, ha aplicado este nuevo lenguaje en diferentes medios, tales como: señalización de sitios arqueológicos, diseño tipográfico, juguetes educativos, prendas de vestir, accesorios de moda que cuentan la forma de vida de los actuales y antiguos nativos de centroamérica; además de promover significados culturales e iconográficos, la educación y el juego. El Nuevo Lenguaje Maya rescata la lengua muerta escrita creada por la civilización maya en Mesoamérica 300 aC. Los mayas, antes de ser historiadores, matemáticos, astrónomos o escribanos, eran artistas. Su escritura no sólo reunía la vida política y otros asuntos históricos, pero era también una obra de arte en sí misma, manifestada a través de diferentes medios: esculturas en piedra, murales, manuscritos caligráficos, productos utilitarios, cerámica, textiles, prendas de vestir, etc. Ciertamente no hay mucha diferencia entre un artista o diseñador practicante en nuestros días. Lastimosamente dicha profesión no es tan valorada como en los viejos tiempos. Tiempos en los que según el epigrafista Michael D. Coe: “Los artistas podían ser reyes”. Era realmente una profesión real.
Muy especialmente, el objetivo de Frida es que su nuevo lenguaje jeroglífico sea democrático, accesible y amigable, especialmente para los ciudadanos comunes de Mesoamérica. Muchas de ellos son iletrados y el Nuevo Lenguaje Maya logra tocar ambas: sus fibras emocionales y cognitivas. Es un lenguaje sin palabras que hace que estos pobladores se sientan incluidos en un mundo donde las letras del alfabeto son sus mayores obstáculos para el progreso. Frida Larios obtuvo una Maestría en Diseño de la Comunicación de la Central Saint Martins College of Art & Design, University of the Arts London, en donde también ejerció como profesora adjunta durante muchos años e inició proyecto del Nuevo Lenguaje Maya en el año 2004. Central Saint Martins estaba ubicada a dos cuadras del British Museum en donde se encuentran algunos de los dinteles tallados más importantes del mundo maya, y haber sido la primera mujer salvadoreña en estudiar allí, le inspiró a buscar sus propias raíces dentro de una institución y una ciudad con marcadas tendencias vanguardistas. El haber estado en contacto con ambos: una cultura milenaria y al mismo tiempo las expresiones artísticas más contemporáneas, provocó la idea de revivir el lenguaje jeroglífico de los mayas. Uno de los mayores logros que Frida ha alcanzado con su proyecto fue el haber sido la única latinoamérica en haber ganado el Sign Design Award otorgado por la Sign Design Society en Londres en el 2005 y la única latinoamericana seleccionada para exhibir enBeijing Typography ’09 en el Museo de la Academía Central de Bellas Artes en Beijing, China junto a 80 figuras del diseño tipográfico internacional. En la actualidad, Frida es embajadora de INDIGO, la Red Internacional de Diseño Indígena de ICOGRADA y dirige el estudio de diseño cultural: Frida Larios con sede en el área de la bahía de San Francisco. Desde ahi atiende a clientes en diseño de: información, tipografía, señalética, moda, accesorios, juguetes y arte plástico. Su galardonado Nuevo Lenguaje Maya ha sido ampliamente expuesto, coleccionado y publicado en todo el mundo.

Compassion Fashion Project TV+Film star feature with my designs

Design, Fashion design, Frida Larios, London, New Maya Language, San Francisco
Beauty Reconstructed-Shannon Kring Buset magazine feature wearing my fashion and accessory designs.
She loved, lost and ventured on a journey of self-discovery. An amazing profile of a famous woman who had it all and lost it – only to find unimaginable happiness and success.

You can read the full article here.

Guest Artist at the Museo para la Identidad Nacional 2012 Auction

Art, Design, Frida Larios, Language, New Maya Language, Tegucigalpa

Have just received an invitation by the Museo para la Identidad Nacional (Museum for the National Identity) in Tegucigalpa, Honduras to be a Guest Artist for the 2012 IDEARTE International Art Auction. The exhibition will take place from the 9 – 30th of November, 2012. The auction night is on October 18th.

I will be participating with two pieces: My New Maya Language art book and Green Child gouaché painting.

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Me acaban de para participar que seré Artista Invitada en la Subasta Internacional de Arte IDEARTE por el Museo para la Identidad Nacional en Tegucigalpa, Honduras. La exhibición será del 9 al 30 de Noviembre del 2012. La noche de la subasta es el 18 de Octubre.

Estaré participando con dos piezas: mi libro de colección Nuevo Lenguaje Maya y la pintura Niño Verde en tempera.

A Stone Carver And His Mountain Studio

Art, Copan, Frida Larios, New Maya Language, Photography, Photojournalism

La Pintada is a developing indigenous community in Copán Ruins, Honduras—an UNESCO World Heritage Maya archaeological site. For two years I was in close contact with the inhabitants of this small village while me and my family lived in the nearby mountains at Hacienda San Lucas.

Now living in Berkeley, California, the time spent with Don Mundo and his family when I come back to visit, is even more precious. Don Mundo is one of the Maya-chortí stone artisans who sculpts my New Maya Language designs. Together, we have developed the special© jade on stone technique. My purpose is to help him and his descendants improve his livelihood and workshop space through supporting his works with fair wages. When someone wears one of my designs they are also helping keep the ancestral mastery of stone carving alive.

You can read more about Don Mundo in my article: Don Mundo–A Maya-chortí Indigenous Stone Carver.

All photographs Tyler Orsburn©. You can follow my husband Tyler on Twitter or Blogspot, or visit his website.

Mother Tongue Exhibition Report From Taipei, Taiwan

Art, Design, Frida Larios, Graphic Design, Language, New Maya Language, Taipei

Written by Paola Torres, Frida Larios’ studio intern.

Being an international student, I felt flattered with my recent experience. As an Adobe Design Achievement Award finalist, I received a ticket to Taipei to attend the ADAA Awards, the Taipei World Design Expo 2011, and the 2011 IDA Congress. Taipei is an amasing city, with gorgeous monuments, a super well-organised transportation system, fabulous people, and of course, exotic food.

Once in Taipei, I had the opportunity to visit the Originality 100 – International Indigenous Cultural And Creative Design Exhibition at the National Taiwan University of the Arts’ Art Museum. This collection exhibited more than 100 pieces of international cross-cultural and domestic aboriginal designs. The designs originated from aboriginal cultures and totems, combining current design concepts and applications.

Mother Tongue exhibition is an INDIGO – the International Indigenous Design Network – project. It is a cross-cultural platform to open discussion around the role of contemporary indigenous design and to encourage collaborative projects that deepen our understanding of people’s culture in our visual world of this 21 century.

The exhibition’s introduction read like this:

Mother Tongue – a rapidly changing concept in a world where growing immigration affects not only the economic and social structure of the host

society, but also its culture and, as such, its language.

27 posters were selected from over 500 by designers from around the world. I felt proud when I contemplated the calligraphy poster design of my boss/mentor/teacher/inspiration, Frida Larios. The description of her Mayan poster, named yal-Child of Mother, read the following way:

The Maya natives of Mesoamerica, in their nearly 2000-year ancient hieroglyphic writing, pictured the “thumbs-up” hand as a symbol of harvesting, completing, and binding. In the case of the word ya-AL (yal), the harvest is a child – the fruits of the womb. In the same way our mother tongue is the product of our upbringing and culture. The flames represent the fire coming out of our mouth when we speak – when we speak with the passion of our native language.

I loved the idea of how designers nowadays are involved in this global culture. The role of designers here is crucial, and it is what will someday make a difference in our rapidly changing world. This exhibition was not just a design exhibition. I felt it was design for the people, for the world, its different cultures, and each others roots. Frida Larios, and the rest of the designers, deal with issues about life itself. It is not easy to understand cultures, especially when such racial differences are affecting our society. This exhibition was about a connection to the earth, about learning to accept diversity, and about respecting what others conceive as their Mother Tongue.

All photographs courtesy of Paola Torres, except were noted.