The Indigenous art of Tigua, originating from the Kichwa community in the
Ecuadorian Andes, is a vibrant and deeply symbolic tradition that reflects the
region’s rich cultural heritage.
Tigua artists are renowned for their colorful paintings and intricately carved
wooden masks, both of which celebrate the rhythms of rural Andean life. These
artworks often depict scenes of farming, herding, festivals, and the majestic
landscapes surrounding Cotopaxi volcano and Quilotoa lagoon. Painted on
sheepskin using chicken feather brushes, the paintings are small but rich in
detail, capturing the essence of communal life and the spiritual connection to
nature.
The modern Tigua painting tradition began in the 1970s when Julio Toaquiza, a
local artist, was encouraged by a Quito art dealer to paint on flat sheepskin
canvases. This innovation sparked a new wave of artistic expression in the
village, leading to the development of a distinctive "naif" style
characterized by bright colors and narrative compositions. Julio’s legacy
continues through his children and other villagers, many of whom have become
accomplished artists themselves. Despite their growing fame, most Tigua
artists remain closely tied to their land, continuing to farm and live in
harmony with the environment that inspires their work.
In addition to paintings, Tigua is also known for its traditional wooden
masks, which play a central role in local festivals, especially on Three Kings
Day. These masks, often depicting animals like condors, wolves, monkeys, and
lions, are worn during dances that mimic the behaviors of the creatures they
represent. The masks are not merely decorative—they embody the spirit of the
animals and the stories of the community. Julio Toaquiza, who pioneered both
the painting and mask-making traditions, draws inspiration directly from the
surrounding mountains, interpreting natural rock formations as faces and
figures that appear in his art.
Tigua art is more than aesthetic—it’s a living narrative of Indigenous
identity, spirituality, and resilience. The artists’ commitment to portraying
their environment and traditions ensures that each piece serves as a cultural
document, preserving the stories and values of the Kichwa people. Whether
through the playful depiction of a monkey or the solemn presence of Cotopaxi,
Tigua art invites viewers into a world where every detail has meaning and
every brushstroke tells a story.
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Tigua masks
The masks and paintings of Tigua are a vivid
expression of the Kichwa people's connection to nature, community, and
spirituality.
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At the heart of this artistic tradition is Julio Toaquiza Tigasi, the
pioneering figure who transformed Tigua art into a globally recognized
style. His gallery, the Galería del Primer Pintor de Tigua,
showcases an extraordinary collection of hand-painted sheepskin
canvases and carved wooden masks that reflect the dreams, harvests,
festivals, and ancestral stories of the Andean highlands. Julio’s work
is deeply rooted in the landscapes surrounding Cotopaxi and Quilotoa,
often portraying animals, mountains, and village life in a bright,
narrative style known as “naif.”
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Julio was the first to paint on sheepskin using flat surfaces, a
technique that revolutionized local art in the 1970s. His paintings
are rich in detail, often featuring llamas, condors, shepherds, and
women spinning wool, all set against the dramatic backdrop of the
Andes. Each piece invites viewers to discover new elements with every
glance, offering layers of meaning and storytelling. His book
Julio’s Dreams, written in Quichua, Spanish, and English,
captures his life and artistic vision, blending autobiography with
dreamlike illustrations that mirror the themes found in his gallery.
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Equally captivating are the wooden masks Julio carves, which are
central to Tigua’s cultural festivals, especially the Three Kings Day
celebration. These masks depict animals such as wolves, condors,
monkeys, and lions, each with its own symbolic choreography during
dances through the village and forest. Julio’s favorite is the monkey,
which he describes as cheerful and playful, while the lion represents
strength and aggression. The masks are not just artistic
creations—they are embodiments of the spirits and stories of the land,
crafted with reverence and imagination.
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The Galería del Primer Pintor de Tigua stands as a living
tribute to Julio’s legacy and the enduring spirit of Tigua art.
Visitors to the gallery encounter not only the visual beauty of the
works but also the profound cultural narratives they carry. Through
his paintings and masks, Julio Toaquiza Tigasi has preserved and
elevated the traditions of his people, ensuring that the voices of
Tigua continue to resonate far beyond the Andes.
- Photograph by Arabsalam, distributed under a CC-BY 4.0 license.
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The Woman Who Flew
High above the emerald slopes of the
Quilotoa Loop, where the wind whispers through the páramo and the
volcanoes stand watchful, a majestic condor soared.
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He was no ordinary bird—his wings stretched like shadows across the
land, and his eyes held the wisdom of the mountains. One day, as he
glided over the fields near Tigua, he spotted a young indigenous woman
tending to her crops. Her grace and strength stirred something deep
within him, and in that moment, the condor’s heart, long untouched by
earthly love, began to beat with longing. Determined to meet her, he
descended from the skies and transformed into a man wearing a woven
poncho, his eyes still sharp with the spirit of the Andes.
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The villagers were wary. They had never seen this stranger before, and
his presence unsettled them. Rumors swirled like dust devils—some said
he was a sorcerer, others feared he would steal the woman away. But
the man in the poncho was gentle and kind, and the woman saw in him a
soul as wild and free as the condor he once was. Slowly, the community
softened. They saw the love between the two grow like the crops in
their fields, nourished by patience and respect. In time, the woman
herself began to change. Her spirit lifted, her eyes gleamed with
sky-born light, and one morning, she spread wings of her own—becoming
a radiant condor woman, soaring beside her beloved.
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Today, the legend lives on in the vibrant paintings of Tigua artists,
whose bold strokes and vivid colors capture the magic of the tale. In
scenes framed by Cotopaxi’s snowy peak and the turquoise waters of
Quilotoa crater, you’ll find the condor couple dancing in the sky,
embraced by clouds and tradition. Their story is more than myth—it’s a
celebration of transformation, love, and the harmony between nature
and humanity. Look closely, and you’ll see that the condor’s wings
still cast their shadow over the land, reminding all who pass through
that even the wildest hearts can find home.
- Photograph by Valérie Veziant.
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Tigua Indigenous Justice
«Theme: Tigua Indigenous Justice.
Technique: Oil on leather. Size: 57 x 69 cm. Author: Alfredo Toaquiza U.
Year: 2011.»
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Alfredo Toaquiza Ugsha’s painting Tigua Indigenous Justice is a
striking example of Tigua folk art, known for its vivid storytelling
and communal themes. Rendered in the traditional style of the
Kichwa-speaking Tigua people of Ecuador, the painting captures a
moment of public reckoning rooted in Indigenous legal customs. At the
center stands a half-naked man, subjected to corporal punishment by
two Indigenous women—one whipping his legs with a branch, the other
dousing him with water. This ritualistic act, though jarring to modern
sensibilities, reflects a form of restorative justice practiced within
the community, where shame and physical penance serve as tools for
reconciliation rather than exclusion.
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The backdrop of the scene is equally powerful: the entire village
bears witness. Their presence isn’t passive; it reinforces the
collective nature of justice in Tigua society, where accountability is
not hidden behind closed doors but enacted in full view of one’s
peers. In front of the man sits a tribunal of Indigenous elders, their
expressions solemn and resolute. They preside over a table bearing a
book titled Law of the Commune 1965, a symbolic anchor that
ties the scene to a codified set of communal laws. This detail
suggests that the punishment is not arbitrary but grounded in a
recognized legal framework—one that predates and operates
independently of Western judicial systems.
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Toaquiza’s work is more than a depiction of discipline; it’s a visual
manifesto of Indigenous sovereignty and cultural continuity. The
painting challenges viewers to reconsider notions of justice,
authority, and tradition through the lens of a community that has long
resisted external imposition. By foregrounding Indigenous women as
active agents in the enforcement of justice, the piece also subtly
elevates their role within the social fabric. The use of bold colors
and meticulous detail—hallmarks of Tigua painting—imbue the scene with
both immediacy and reverence. In essence,
Tigua Indigenous Justice is not just a painting; it’s a window
into a living legal tradition, fiercely preserved and proudly
displayed.
- Photograph by Valérie Veziant.
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Indigenous Uprising 2000
«Theme: Indigenous Uprising 2000.
Technique: Oil and acrylic on leather. Size: 65 x 75 cm. Author: Alfredo
Toaquiza U. Year: 2008.»
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Alfredo Toaquiza Ugsha’s Indigenous Uprising 2000 is a vivid
and politically charged Tigua painting that captures a moment of
collective resistance and social upheaval. True to the Tigua
tradition, the work is painted on sheepskin with meticulous detail and
vibrant colors, portraying the Indigenous population in active
protest. The demonstrators, tightly packed and expressive, face off
against a line of police and military forces, separated by a roll of
barbed wire—a powerful visual metaphor for the institutional barriers
that divide state authority from Indigenous voices. The tension is
palpable, yet the unity of the protesters conveys strength and
determination.
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Above the crowd, a public building looms, its balcony occupied by
figures who visibly support the uprising. Their presence suggests that
solidarity with Indigenous causes exists even within the structures of
power, hinting at internal dissent or the possibility of reform. But
the most striking element lies in the sky: a suited figure with a
suitcase and a bag slung over his back, seemingly fleeing the scene.
This airborne escape evokes the image of a political or economic elite
abandoning responsibility, perhaps symbolizing the exodus of corrupt
officials or the failure of leadership in the face of grassroots
mobilization. The surreal placement of this figure in the sky adds a
layer of satire and urgency to the narrative.
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Toaquiza’s painting is not just a depiction of protest—it’s a visual
chronicle of Ecuador’s Indigenous struggle for justice and
recognition, particularly referencing the real-life uprisings of the
early 2000s. By embedding political critique within the folk art style
of Tigua, the artist bridges ancestral tradition with contemporary
resistance. The juxtaposition of communal strength against
institutional force, and the symbolic flight of power, invites viewers
to reflect on the dynamics of justice, accountability, and the
enduring resilience of Indigenous communities. It’s a painting that
doesn’t just tell a story—it demands that we listen.
- Photograph by Valérie Veziant.
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Healer with the Power
«Theme: Healer with the Power.
Technique: Oil and acrylic on leather. Size: 55 x 61 cm. Author: Alfredo
Toaquiza U. Year: 2013.»
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Alfredo Toaquiza Ugsha’s Healer with the Power is a mesmerizing
Tigua painting that celebrates Indigenous spirituality, communal
healing, and the sacred relationship between humans and nature. At the
heart of the composition sits a female healer, surrounded by fellow
villagers in quiet reverence. Her seated posture and focused demeanor
suggest a ritual in progress—perhaps a cleansing, a blessing, or a
spiritual diagnosis. The gathering is intimate yet powerful,
emphasizing the healer’s central role in maintaining the physical and
spiritual well-being of her community. This is not medicine in the
Western sense, but a deeply rooted practice that blends ancestral
wisdom, ritual, and connection to the earth.
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Behind the healer rises a prominent mound bearing the serene face of a
woman—likely Pachamama, the Andean Earth Mother. Her presence anchors
the scene in Indigenous cosmology, reminding viewers that healing is
not merely human work but a collaboration with the forces of nature.
Further behind, four additional mounds each display a face playing a
musical instrument: trumpet, flute, panpipe, and drum. These musical
mounds animate the landscape, transforming it into a living orchestra.
The instruments evoke ceremonial soundscapes, suggesting that healing
is not only tactile but also vibrational—carried through rhythm,
melody, and ancestral resonance. The mountains themselves become
sentient beings, guardians of the ritual and participants in the act
of restoration.
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Above this enchanted terrain, two owls and the moon hover in the sky,
lending the painting a mystical aura. Owls, often symbols of wisdom
and spiritual insight, reinforce the sacredness of the healer’s work,
while the moon—keeper of cycles and tides—casts its gentle light over
the scene. Toaquiza’s use of vibrant colors and symbolic layering
transforms the canvas into a spiritual map, where every element
contributes to the harmony of the whole.
Healer with the Power is not just a depiction of a ritual—it’s
a visual invocation of Indigenous knowledge systems, where healing is
communal, musical, and deeply intertwined with the living landscape.
- Photograph by Valérie Veziant.
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Living by the Lake
Maria Toaquiza’s painting of Lake
Quilotoa, framed by the majestic Cotopaxi Mountain, is a luminous
tribute to the rhythm and resilience of Indigenous life in the
Ecuadorian Andes.
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Rendered in the vibrant, narrative-rich style of Tigua folk art, the
composition places nature and community in harmonious dialogue. The
lake, with its deep turquoise hues, sits calmly in the foreground,
while Cotopaxi’s snow-capped peak rises behind it like a spiritual
sentinel. This iconic volcano, sacred to many Andean peoples, anchors
the scene with a sense of permanence and reverence, reminding viewers
of the enduring presence of Pachamama—the Earth Mother.
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Around the lake, Maria Toaquiza paints a tapestry of daily life, each
activity depicted with care and intention. Indigenous villagers are
shown sowing seeds, tilling the land, harvesting crops, and herding
animals—acts that speak to a deep connection with the earth and
seasonal cycles. Others weave wool, their hands engaged in ancient
techniques passed down through generations, while a musician plays the
pan flute, infusing the landscape with melody. These scenes are not
isolated vignettes but interconnected expressions of communal labor,
tradition, and joy. Toaquiza’s brushwork and color palette celebrate
the dignity of work and the beauty of cultural continuity.
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Above this pastoral world, the sky comes alive with birds in flight
and the rising sun piercing through the clouds. The birds symbolize
freedom and the spiritual link between earth and sky, while the sun’s
ascent evokes renewal, hope, and the promise of another fruitful day.
Maria Toaquiza’s painting is more than a visual record—it’s a poetic
affirmation of Indigenous identity, where land, labor, and legacy
converge. Through her art, she invites viewers to witness not just a
landscape, but a living story of people who thrive in balance with
nature, guided by ancestral wisdom and collective spirit.
- Photograph by Valérie Veziant.
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Flight of the Condor Rider
Alfredo Toaquiza Ugsha’s 2023
painting of Lake Quilotoa is a radiant celebration of Indigenous life,
Andean mythology, and ecological harmony, rendered in the signature
Tigua style.
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The lake, nestled among snow-capped mountains, glows with a serene
turquoise hue, anchoring the composition in a place both real and
sacred. Above its waters, two hummingbirds—one green, one red—hover
face to face, their mirrored flight suggesting courtship, duality, or
spiritual balance. These delicate creatures, often symbols of vitality
and joy in Andean cosmology, seem to bless the landscape with their
presence, hovering like guardians over the daily rhythms unfolding
below.
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Around the lake, scenes of Indigenous life pulse with movement and
purpose. People sow seeds, till the land, herd animals, and play the
panpipe, each act depicted with reverence and detail. These vignettes
are not mere illustrations—they are affirmations of ancestral
knowledge and communal labor. A caravan of sheep and burdened camelids
winds along a path, evoking the timeless journeys of trade and
pilgrimage that have shaped Andean culture for centuries. Toaquiza’s
use of vibrant color and layered perspective transforms the landscape
into a living tapestry, where every figure and animal contributes to
the story of resilience and connection to the land.
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The sky above is alive with birds in flight and the rising sun
piercing through the clouds, casting golden light over the mountains.
Most striking is the image of an Indigenous man riding a bird—likely a
condor—soaring above the peaks. This surreal yet symbolic figure
evokes themes of transcendence, spiritual vision, and the fusion of
human and nature. In Andean lore, the condor is a messenger between
worlds, and Toaquiza’s rider may represent a shamanic figure or
ancestral spirit watching over the community. The painting, rich in
symbolism and grounded in lived experience, invites viewers into a
world where myth and reality coexist, and where the land itself sings
with memory and meaning.
- Photograph by Valérie Veziant.
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Runner of the Knotted Paths
Alfredo Toaquiza Ugsha’s 2023
painting featuring the snow-capped Cotopaxi is a masterful fusion of
landscape, symbolism, and Indigenous identity.
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Cotopaxi, one of the most sacred mountains in Andean cosmology,
dominates the canvas with its pristine white peak. But Toaquiza adds a
mystical twist: a human face etched into the snow, gazing outward like
a guardian spirit. This anthropomorphic rendering transforms the
volcano into a sentient being, perhaps Pachamama herself, watching
over the land and its people. The mountain is not just a backdrop—it
is alive, conscious, and central to the spiritual narrative of the
painting.
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At the foot of this majestic peak, a lone figure runs along a winding
path. He wears an orange scarf that flutters behind him, suggesting
motion, urgency, or ritual significance. In each hand, he grips a
staff adorned with 20 to 30 knotted strands, each strand a different
color. These staffs resemble quipus, the ancient Andean system
of record-keeping through knots and colors. Their presence hints at a
deeper meaning: the runner may be a messenger, a spiritual courier, or
a ceremonial figure carrying ancestral knowledge across the landscape.
His movement through the terrain evokes pilgrimage, resistance, or the
transmission of memory.
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Toaquiza’s use of vibrant color and symbolic layering invites viewers
to read the painting not just as a scene, but as a coded story. The
contrast between the stillness of the mountain and the dynamism of the
runner creates a tension between permanence and change, tradition and
movement. The multicolored strands suggest diversity, complexity, and
the interwoven nature of Indigenous experience. In this painting, the
land itself becomes a canvas of memory, and the runner a living thread
in the tapestry of Andean heritage. It’s a work that pulses with
meaning, rooted in the sacred geography of Ecuador and the enduring
spirit of its people.
- Photograph by Valérie Veziant.
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Between Worlds
Alfredo Toaquiza Ugsha’s 2024 painting is a
luminous ode to the Andean highlands, where nature, culture, and quiet
observation converge.
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At its heart lies Lake Quilotoa, its deep turquoise waters cradled by
two snow-capped mountains that rise like ancient sentinels in the
background. The peaks shimmer with spiritual presence, anchoring the
scene in the sacred geography of the Tigua people. Overhead, a condor
soars majestically, joined by three hummingbirds and other birds in
flight—each one rendered with delicate precision, symbolizing freedom,
vitality, and the interconnectedness of all living beings.
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In the foreground, two men dressed in Western clothing sit with their
backs to the viewer, absorbed in the landscape. One peers through
binoculars, while the other gestures skyward, pointing toward the
birds. Their presence introduces a subtle tension: they are outsiders,
observers rather than participants, perhaps tourists or researchers
drawn to the beauty and mystery of the Andes. Yet their posture is
respectful, contemplative, suggesting a moment of quiet reverence.
Toaquiza’s decision to include these figures invites reflection on the
relationship between Indigenous land and external gaze—how the sacred
is seen, studied, and sometimes misunderstood.
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Nearby, an Indigenous couple tends to their flock of sheep and
camelids, grounding the painting in daily life and ancestral
continuity. Their presence contrasts with the seated observers,
embodying a lived connection to the land rather than a distant
admiration. The couple’s work is rhythmic and purposeful, echoing
centuries of tradition in the highlands. Through vibrant color and
symbolic layering, Toaquiza weaves a narrative that is both intimate
and expansive—where the sky teems with spirit, the earth pulses with
labor, and the mountains watch over all. It’s a painting that doesn’t
just depict a place—it breathes with its stories.
- Photograph by Valérie Veziant.
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Journey Through the Sacred Highlands
Alfredo Toaquiza
Ugsha’s painting is a poetic tribute to Indigenous life in the
Ecuadorian Andes, where tradition, labor, and spirituality converge
beneath the towering presence of Cotopaxi.
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The snow-capped volcano, rendered with reverence and grandeur,
dominates the landscape like a silent guardian. Its peak gleams
against the sky, anchoring the scene in sacred geography. At its base,
an Indigenous couple walks side by side, guiding a herd of sheep and
heavily laden camelids. The man plays the panpipe, his music seemingly
woven into the rhythm of the journey, while the woman carries a small
white bundle on her back—perhaps a child, perhaps a sacred
offering—adding tenderness and mystery to their shared path.
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The caravan moves with quiet purpose, echoing centuries of ancestral
migration and trade. The camelids, burdened with goods, evoke the
enduring relationship between humans and animals in Andean life, where
survival is communal and interdependent. The couple’s attire and
gestures reflect a deep connection to their land and heritage, and the
panpipe’s melody—though silent to the viewer—suggests a soundtrack of
resilience and devotion. Toaquiza’s brushwork, rich in color and
detail, transforms the landscape into a living tapestry, where every
figure and element contributes to a larger story of cultural
continuity.
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Above this grounded scene, the sky opens into myth. A man, mounted on
a condor, soars above the mountains, watching over the travelers
below. This figure, both surreal and symbolic, evokes the Andean
belief in the condor as a messenger between worlds—earth and spirit,
past and future. The rider may represent an ancestral protector, a
shamanic presence, or even the artist himself, transcending the
physical to bear witness from above. In this painting, Toaquiza weaves
together the tangible and the mystical, inviting viewers to see not
just a journey, but a sacred passage through time, memory, and
meaning.
- Photograph by Valérie Veziant.
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Landscape by Apuko, 2023
Apuko is actually a name
used by Alfredo Toaquiza Ugsha himself, not a separate family
member.
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In fact, the book titled
Apuko: historia de vida, espiritualidad, lucha indígena y pintura
en el mundo andino
is a collaborative ethnographic work that tells Alfredo’s life story,
blending his personal journey with his art, spirituality, and
political leadership.
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The name Apuko appears to be a spiritual or symbolic identity
that Alfredo embraces, possibly reflecting his connection to Andean
cosmology or his role as a cultural guide. The book was co-authored
with anthropologist Juan Ignacio Robles Picón and includes paintings
created by Alfredo specifically for the project. It’s written in a
deeply personal tone, intertwining Indigenous worldview with
autobiographical narrative, and it’s illustrated with his own artworks
that express themes of justice, memory, and ancestral wisdom.
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So while Apuko might sound like a pseudonym or a separate
artist, it’s actually another facet of Alfredo Toaquiza Ugsha himself
— a name that carries layers of meaning within his artistic and
spiritual practice.
- Photograph by Valérie Veziant.
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Landscape by David Toaquiza (left painting)
David Toaquiza
is a contemporary Indigenous artist from the Tigua community in Ecuador,
part of the renowned Toaquiza family lineage that has shaped and
sustained the vibrant tradition of Tigua painting.
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Like his relatives—Julio, Alfonso, Gustayo, and Alfredo—David paints
in the distinctive naïf style that characterizes Tigua art:
bright colors, flattened perspective, and intricate storytelling. His
works are typically painted on sheepskin, a medium that connects the
art form to its ancestral roots. Though less internationally known
than some of his relatives, David’s paintings reflect the same deep
reverence for Andean landscapes, Indigenous customs, and spiritual
symbolism.
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In his compositions, David often portrays scenes of daily life in the
highlands—herding animals, sowing crops, weaving wool, and celebrating
communal rituals. These activities are not just picturesque; they are
expressions of cultural continuity and resilience. His paintings
frequently feature iconic elements such as the Cotopaxi volcano,
condors soaring overhead, and Indigenous figures in traditional dress,
all rendered with meticulous detail. Like other Tigua artists, David
embeds layers of meaning into his work, where each figure, animal, and
mountain carries symbolic weight. His art invites viewers to witness
not just a moment, but a worldview shaped by harmony with nature and
ancestral memory.
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What sets David apart is his ability to balance tradition with
personal interpretation. While rooted in the visual language pioneered
by Julio Toaquiza, David’s paintings often carry a quieter, more
introspective tone. His use of color and composition suggests a deep
emotional connection to the land and its stories. Whether depicting a
solitary shepherd beneath a vast sky or a bustling village scene,
David’s work pulses with life and meaning. It’s a testament to the
enduring power of Tigua art—not just as cultural preservation, but as
a living, evolving expression of Indigenous identity.
- Photograph by Valérie Veziant.
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Paintings by Maria Toaquiza and David Toaquiza
- Photographs by Valérie Veziant.
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Riverbank Spirits
Alfredo Toaquiza Ugsha’s painting dated
03-09-2023 is a lush, immersive portrayal of the Amazon rainforest,
rendered in the vivid, narrative-rich style of Tigua art.
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The foreground introduces an Indigenous couple in a moment of quiet
intimacy and ritual. The man, dressed in a white loincloth, stands
poised with a spear in one hand and a branch of medicinal or
ceremonial plants in the other—symbols of protection, sustenance, and
spiritual connection. Beside him, the woman kneels at the river’s
edge, washing her hair, her gesture both personal and elemental,
reinforcing the bond between body and water. Their presence anchors
the painting in lived experience, where daily life and nature are
seamlessly intertwined.
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The middle ground opens into a wide river, its surface animated by
ducks gliding and rippling through the water. A lone Indigenous man in
a canoe fishes with a bow and arrow, his posture focused and graceful.
This act of hunting is not just survival—it’s tradition, skill, and
harmony with the environment. The riverbank teems with life: jaguars
crouch in watchful repose, capybaras graze, and monkeys—both
white-maned black and brown—swing and perch among the trees. Parrots
add bursts of color and sound, their presence a reminder of the
rainforest’s vibrant biodiversity. Toaquiza’s attention to detail
transforms the landscape into a living mosaic, where every creature
plays a role in the ecological and spiritual balance.
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In the background, towering trees enclose the scene in a dense,
verdant canopy, evoking the mystery and majesty of the Amazon. The
forest is not just backdrop—it’s a sacred space, a breathing entity
that shelters and sustains. Toaquiza’s composition invites viewers to
witness the rainforest not as an exotic spectacle, but as a home, a
sanctuary, and a source of ancestral wisdom. Through his brush, the
Amazon becomes a place of reverence, where human life, animal
presence, and natural rhythm converge. It’s a painting that pulses
with vitality, offering a window into a world where every leaf,
gesture, and gaze carries meaning.
- Photograph by Valérie Veziant.
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The Shaman’s Touch
Alfredo Toaquiza Ugsha’s 2023 painting of
the Amazon jungle is a deeply spiritual and richly symbolic work that
captures the intimate relationship between Indigenous healing practices
and the natural world.
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In the foreground, a shaman and a patient sit on the forest floor,
engaged in a ritual of restoration. The shaman gently presses a branch
of medicinal plants to the patient’s head, a gesture that speaks to
centuries of ancestral knowledge and the sacred power of the
rainforest’s flora. A lit candle flickers beside them, casting a warm
glow that suggests both illumination and protection—an earthly flame
anchoring the spiritual energy of the moment.
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The middle ground opens into a tranquil river, where a stilted hut
rises above the water, blending seamlessly into the landscape. This
structure, humble yet resilient, evokes the adaptability of Amazonian
life and the harmony between human shelter and nature’s rhythms. Along
the riverbank, a sloth lounges in stillness, while black monkeys with
striking white manes leap and perch among the trees. Parrots add
bursts of color and sound, animating the scene with their vibrant
presence. Toaquiza’s attention to detail transforms the jungle into a
living, breathing entity—each animal a participant in the ecosystem’s
quiet symphony.
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In the background, towering trees enclose the scene in a dense,
verdant embrace, their canopy forming a sacred enclosure. Above it
all, the bust of a jaguar hovers in the sky—majestic, watchful, and
otherworldly. This spectral feline, a powerful symbol in Amazonian and
Andean cosmology, represents strength, mystery, and spiritual
guardianship. Its presence suggests that the ritual below is not
merely medicinal but cosmological, overseen by forces beyond the
visible. Through this painting, Toaquiza invites viewers into a world
where healing is not isolated from nature, but deeply embedded within
it—where every leaf, animal, and spirit plays a role in the
restoration of balance.
- Photograph by Valérie Veziant.
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Touch of the Forest Spirit
Alfredo Toaquiza Ugsha’s painting
dated January 4, 2024, is a vivid and spiritually charged portrayal of
the Amazon rainforest, where ritual, nature, and quiet observation
converge.
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In the foreground, a shaman stands beside a patient, his left hand
clutching a branch of medicinal plants while his right hand rests
gently on the patient’s head. This moment of healing is intimate and
purposeful, rooted in ancestral knowledge and the sacred power of the
forest. Nearby, two women wait, seemingly unaware of the ritual
unfolding beside them—an evocative detail that suggests the
coexistence of the sacred and the mundane in daily life.
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The middle ground opens into a flowing river, animated by a gentle
waterfall that adds movement and sound to the scene. Within the water
stand two huts on stilts, their elevated design blending seamlessly
with the natural environment and reflecting the adaptive architecture
of Amazonian communities. Ducks paddle along the riverbank, adding a
touch of serenity and life to the composition. Toaquiza’s attention to
detail—each ripple, each bird—transforms the landscape into a living,
breathing entity, where every element contributes to the harmony of
the whole.
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In the background, towering trees form a dense, verdant wall,
enclosing the scene in a sacred canopy. But it’s the presence of the
puma, positioned prominently in one corner, that adds a layer of
mystery and spiritual depth. The puma, a powerful symbol in Indigenous
cosmology, watches the healing scene with quiet intensity. Its gaze
suggests guardianship, perhaps even judgment, as if the forest itself
is bearing witness to the ritual. Through this painting, Toaquiza
weaves together the human, the animal, and the spiritual into a
single, cohesive narrative—one that honors the rainforest not just as
a setting, but as a sacred participant in the act of healing.
- Photograph by Valérie Veziant.
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Voices of the Amazon
In this imagined Tigua painting, the
Amazon bursts to life with vibrant detail and storytelling.
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At the heart of the composition stands a towering tree, its trunk
textured with earthy browns and its canopy a lush explosion of greens.
The tree anchors the scene, a symbol of life and continuity in the
rainforest. Around it, the forest teems with stylized foliage, winding
vines, and distant hints of other creatures, rendered in the
meticulous, narrative-driven style that defines Tigua art. The
background is alive with motion—tiny birds in flight, leaves rustling,
and the suggestion of a river winding through the underbrush.
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Perched on a sturdy branch is a dazzling parrot, its feathers a
kaleidoscope of red, yellow, green, and blue. Its gaze is alert,
perhaps mid-call, as if announcing its presence to the jungle. Beside
it sits a black monkey with a striking white mane, its posture relaxed
but watchful. The monkey’s eyes seem to follow something unseen,
adding a layer of mystery to the scene. Above it, another parrot—this
one painted in bold red and blue—balances on a thinner branch, its
wings slightly spread as if ready to take flight. The arrangement of
the animals creates a vertical rhythm, guiding the viewer’s eye upward
through the tree’s branches.
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The painting’s palette is rich and saturated, with every creature and
leaf outlined in fine, deliberate strokes. Tigua artists often use
acrylics on sheepskin or canvas, and this piece would likely showcase
their signature circular composition or panoramic storytelling. The
scene is not just decorative—it’s a celebration of biodiversity and a
quiet homage to the interconnectedness of life in the Amazon. The
animals are not merely subjects; they are characters in a living
narrative, each contributing to the harmony and tension of the forest.
- Photograph by Valérie Veziant.
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Heart of the Jungle
In this imagined Tigua painting, the
Amazon is rendered with bold symbolism and intricate storytelling.
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Dominating the center is the bust of a jaguar, its golden eyes
piercing through the canvas with quiet authority. The jaguar’s fur is
painted in rich ochres and deep blacks, each spot carefully detailed
in the traditional Tigua style, which favors precision and vibrant
color. Its expression is calm yet commanding, embodying the spirit of
the rainforest as both protector and predator. The jaguar’s placement
at the center suggests reverence—it is not just an animal, but a
guardian of the forest’s mysteries.
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To the jaguar’s right, a monkey perches playfully, its limbs curled in
motion, as if caught mid-swing. Its fur is rendered in earthy tones,
with expressive eyes that contrast its mischievous posture. On the
left, a parrot bursts into view, its feathers a dazzling array of red,
green, yellow, and blue. The parrot’s beak is slightly open, perhaps
mid-call, adding a sense of sound to the visual narrative. These two
animals flank the jaguar like companions or witnesses, each
representing different facets of the Amazon’s personality—curiosity,
color, and wildness. Above them, the sky is alive with birds in
flight, their silhouettes scattered like musical notes across a pale
blue expanse.
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Below this trio, the forest is suggested through dense, rhythmic lines
of trees. The trunks are tightly packed, creating a visual texture
that mimics the overwhelming density of the Amazon. The foliage is
stylized, with repeating patterns that echo the circular motifs often
found in Tigua art. This lower section grounds the painting, anchoring
the animals in their natural habitat while also serving as a visual
metaphor for the complexity and interconnectedness of rainforest life.
Altogether, the painting is not just a depiction—it’s a celebration, a
layered homage to the Amazon’s beauty, danger, and sacred balance.
- Photograph by Valérie Veziant.
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