Heber Go Ro
Heber GoRo is an indigenous artist from Tapalapa, Chiapas.
Heber González Rodríguez, indigenous painter of Zoque language. He was born on July 8, 1991, in the municipality of Tapalapa, Chiapas. Place where he completed most of his studies.
In the years he spent in high school, he received workshops and diploma courses in drawing and painting taught by highly experienced teachers, such as David Rodríguez Patiño, and members of the Utopía Grafíca collective, from Mexico City, among others. Workshops and diplomas organized by the Centro Estatal de Lenguas, Artes y Literatura Indígena (CELALI), in San Cristóbal de las Casas, Chiapas.
In 2012 he began his degree in visual arts at the Universidad de Ciencias y Artes de Chiapas (UNICACH), in the city of Tuxtla Gutiérrez. He graduated from this degree in 2016 with a specialization in easel painting.
2015: He participated in the elaboration of a mural with sgraffito technique with masters from the Universidad de La Plata, Argentina. The mural is in the Faculty of Arts and Music of UNICACH.
2015: Collective exhibition at the facilities of the Universidad Autónoma de Chiapas (UNACH), the occasion was to celebrate the architect’s day.
2015: Collective exhibition at the Jaime Sabines gallery, within the framework of the biennial of plastic arts in Chiapas during the year.
2015: Collective exhibition at the Centro Estatal de Lenguas, Arte y Literatura indígenas(CELALI).
2015: Collective exhibition, with the theme “Figuración” (figuration), in the Rectory of the Universidad de Ciencias y Artes de Chiapas.
2016: He painted murals in the Escuela Normal Rural Mactumactza, with the themes “socialism” and “landscape”.
2016: He received the prize for the Indigenous Art of Chiapas, in the zoque painting discipline, in San Cristóbal de Las Casas.
2016: Collective pictorial exhibition “Tres miradas”, within the framework of the celebration of the XII anniversary of the installation of the Universidad Intercultural de Chiapas (UNICH).
2016: Individual exhibition “Cuerpo e indumentaria” in the gallery of Arteria Chiapas A.C.
2016: Collective exhibition “Pulso. Arte Latente “organized by Arteria Chiapas A.C. and made in the La Enseñanza casa de la Ciudad.
2017: Collective exhibition “Pulso. Arte Latente Segunda Edición”organized by Arteria Chiapas A.C. and made in La Enseñanza casa de la Ciudad.
2017: Collective exhibition “Equilibristas” in the gallery of Arteria Chiapas A.C.
2017: Collective exhibition “Postdata”, in El Museo de las Culturas Populares, in San Cristóbal de Las Casas.
My work I recurrently approach the theme of “the suit” (indigenous costume) as one of the pillars of collective identity, just as the body is to the individual identity. In my community context the situation with women is of submission, therefore I think that taking off “the suit” could call the empowerment of the body.
The intimate and the public, the identity for me has this order. I am interested in the moment of transition when “the suit” is off, to the naked body, not the isolated body of the clothing, I am interested in that moment, the ephemeral.
“The suit” represents the Zoque Being, (the body is mine, it is yours). I think that in some way the women of my community cwhe “the suit” is no longer in their bodies, the body no longer belongs to the community. The woman who takes off her “suit” strips away from the collective identity, what I think, empowers the body, empowers her intimacy.
The patriarchal culture in which we are immersed identifies the female body as a source of eroticism, then the woman stripped of the costume refers to a brand, an erotic western code, a patriarchal order. It is in this transition, the moment of stripping the costume (collective identity), in my works I take the body to the erotic or to the femininity, (intimate identity). What interests me is to bring my works closer to the expression of collective identity and others to the individual identity of the intimate, of the feminine.
The process of study, preparation and elaboration of this series on body and clothing are the results in experiences and training anecdotes. The models that I represent in my works have never imagined posing withot any clothes. When I questioned the younger model about what she thought about the naked body, she replied that the body should not be shown, much less to strangers; but when I explained in depth about my project she changed her mind and decided to be part of it. Later I had the opportunity to work with an older woman, she willingly lent herself to pose for the photographs wearing the suit and also to pose without him. When asking the same question that I asked the young model, she replied: “I am not sorry to show the body, because it is normal and I grew up with a very old woman, and all the time my mother lived daily without the blouse on and that’s why I remember my mom and I live again what I once was, and now I’m happy to feel it again “. In these works I hope to raise an idea that evokes the intimate space and the relationship between the body, the identity and the inheritance associated with Zoque women.
I make my works with oil on canvas and in different sizes. This technique has helped me to build a pictorial practice around figuration around body and portrait. The oil painting has allowed me to refine the realistic representation that my proposal requires, on the other hand the pastels and gestures makes reference to the instantaneous or ephemeral of a past moment that I want to recreate. Tapalapa is a cold place, but with the warm colors I pretend to give that feeling of warmth making reference to the intimate and cozy of the family, of the union.
I am currently inspired by the book “Postinjk jäyä”, by maestro Huberto Saraos Díaz, my recent work talks about the most popular legends and stories of my people, of Tapalapa; They talk about eroticism and death. This makes my works do not move away from what I have already built, but with a more subtle, more poetic eroticism.
The body persists as the main focus of my work.