by Francisco Guevara

From the lost Aztec gold of Moctezuma, the kingdom of “El Dorado”, and the gold and silver from the Spanish galleon Esperanza, to the riches of corsairs such as Amaro Pargo, Francis Drake, and many more from the Golden Age of Piracy, the epic myths of treasures are tied to “Empire” and its history, thus remaining in the collective imaginary as revered and desired possessions. This new series explores the intersection of the processes of extermination and Mesoamerican complex thought, through precious feather art works.

These intricate artworks, created by the native peoples of the Americas, hold significant cultural and historical value, not only for what they represent or perform, but because they challenged every complex intellectual concept in Europe, including art. As Alessandra Russo writes, feather art constitutes both a form of imagistic thinking and sacrifice, “the action of making something sacred”, profiting from the performative aspects of feathers by establishing a fundamental relationship between creation and sacredness.

These artworks not only served as expressions of aesthetic beauty but also as powerful symbols of social status, spirituality, and the connection between humans and the divine. The power of feather artworks disclose the complex cultural and spiritual dimensions of Mesoamerican societies and their artistic sophistication.

But how do we interpret sacrifice in the context of colonial extermination? The hoarding of resources while producing dominant knowledge is necessary to sustain ‘Empire’ and oppression is central to it. In this new series I explore different important phases of the processes of extermination in the Atlantic World, particularly in the Americas. From the invasion and destruction of multiple civilizations in Mesoamerica, recorded in several codices to the expansion of the British Empire, the foundation of the Society of Jesus, the establishment of the Inquisition, and the Imperial vision of the Hapsburgs.