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“DE FRENTE A LA COATLICUE”

La Coatlicue, deidad mexica de energía femenina cuyo nombre quiere decir “la que lleva serpientes por falda”. Representaba a la tierra, la madre naturaleza, por esta razón era el símbolo de la fertilidad.

Las culturas prehispánicas concebían la dualidad energética de la naturaleza y le atribuían la figura “materna” porque sabían que en la tierra se crea todo tipo de vida. Esta dualidad consiste en el hecho de que así como la naturaleza es comparable a una madre bondadosa y amorosa que da la vida a sus hijos y les provee lo necesario para vivir; también es cierto que cíclicamente desata su furia manifestada como desastres naturales, y es quien recibe y se alimenta del cuerpo inerte que dejamos al morir.

Se sabe que muchas personas que han logrado tener experiencias místicas que sacuden el estado de conciencia y con ello la “realidad”, como el consumo de drogas psicodélicas o la participación en ceremonias psicotrópicas, alcanzan un contacto directo con este concepto, como si fuese posible recibir una revelación espiritual del vínculo que nos conecta con la Tierra.

México Gráfico.

(Imagen de autor desconocido)

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Thrall of Hypno.

Gray Morrow cover art for Perry Rhodan #20 (1972).

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Gray Morrow cover art for Return from the Void (1974).

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Illustration fom Moebius

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Moebius art

Incal

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Moebius - don quixote

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Art by Moebius

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‘The Incal’ by Jean Giraud (Moebius)

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…‘KTULU’ by Moebius from Heavy Metal Magazine Vol. III No. 6 - October, 1979 (Special H.P. Lovecraft Issue)…

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Moebius wrote:

I drew “The Long Tomorrow” in 1975, while I worked with Alexandro Jodorowsky on a film adaption of “Dune”. Originally Douglas Trumbull was to do the special effects, but that was not to be so Jodorowsky hired Dan O’Bannon to replace him. Dan came to Paris. Bearded, dressed in a wild style, the typical Californian post-hippie. His real work would begin at the time of shooting, on the models, on the hardware props. As we were still in the stage of preparations and concepts, there was almost nothing to do and he was bored stiff. To kill time, he drew. Dan is best known as a script writer, but is an excellent cartoonist. If he had wished, he could have been a professional graphic artist. One day, he showed me what he was drawing. It was the story board of ‘The Long Tomorrow’. A classic police story, but situated in the future. I was enthusiastic. When Europeans try this kind of parody, it is never entirely satisfactory, the French are too French, the Italians are too Italian … so, under my nose was a pastiche that was more original than the originals. A believer in parody, Dan continued that tradition. As the story was very strong, I immediately asked if he would allow me to play around graphically, with complete freedom, without conventional pyrotechnics, to refocus on the floating point of view. Pete Club’s costume, for example, was almost ridiculous, far from the traditional raincoat of Bogart. It was the same for most of the visual elements. I scrupulously followed Dan’s story. One day I wish we could publish our two versions side by side.

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moebius

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Mœbius (Jean Giraud). 1970s. I can’t find a title for it.

Mœbius and Enki Bilal were the first “adult” comic artists I ran into when I was a kid. I had kind of forgotten about them, until I came across Mœbius’s work again on the excellent blog, 70s Sci-Fi Art.

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By the one and only, #moebius