Quijote 1: Realismo clásico.
Cold-cast bronze, Bas-relief.
Quijote 2: Sublimación contemporánea.
Celluloid clay bas-relief.
Quijote 3: Capricho Postmoderno.
In sequence, the three bas-relief pieces, created in styles from different artistic periods, strive to express the evolution of the iconic nature of Don Quijote, adapting over four centuries, transforming in form but not in essence, and attaining universal recognition as a cultural icon.
In juxtaposition, through the choice of contrasting media and styles, they seek to mirror the intrinsic paradoxes that surround our cuerdo loco (wise fool); reality, decorum and discretion represented by the classic bronze; comedy, recklessness and temerity expressed by the postmodern hardware piece, and perception, sublimity and drama conveyed through the contemporary piece. My own wandering artistic trajectory echoes a similar ambivalence; its constant element is change, and my creative driving-force is the incessant exploration of new media, styles and techniques with, in later years, a sporadic progression towards abstract expression and larger formats. For decades I agonized over my urge to jump back and forth between figurative depiction and abstraction (my personal ambivalence between reality and perception), and between vastly divergent styles, media and formats, convinced that to achieve recognition I had to restrict myself to a distinctive and permanent style (sacrificing, as it were, temerity to propriety.) However, having failed, after three decades, to resist the urge to constantly move on and explore new creative possibilities, I decided to embrace eclecticism as my style, in spite of the inherent conceptual oxymoron of an unpredictable style. During the first two decades my work evolved from figurative ink and charcoal drawing to oil and acrylics. Having spent the first half of my life in Mexico, most of my early paintings are strongly influenced by Mexico’s people, colors and light. Although I painted many a landscape, the human element is prevalent in my early work, which consists mostly of figurative human studies, descriptive Mexican scenes and private portrait commissions.
In 2005 my style and medium underwent a drastic and serendipitous expansion into mosaic, particularly in large-scale public art. My mosaic installations, totaling approximately 1000 square feet of mosaic surface, can be viewed at Summit School in Winston-Salem, where I completed two mosaic benches and a playground installation, and in Clemmons Elementary School, where my Coral Reef Planters and three amphitheater benches represent Australia and Latin America in the School's Global Garden. In 2013 I returned to the easel, moving on to abstract acrylics and mixed media pieces, and in 2014 I started working on sculpture and bas-relief, both abstract and figurative and in traditional as well as non-traditional media.
Apart from creating art, I thoroughly enjoy conveying the joy of creation to children and adults alike and offers workshops in mosaic, Huichol-inspired yarn art and other styles and media to schools and private groups.
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