RELIEF SCULPTURE

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ABOUT THE QUIXOTE SERIES

I created the Quixote Series for the "I am Quixote" art exhibit at Durham Arts Council's Allenton and Seamans Galleries (Nov. 6, 2015 through Jan 3, 2016.) The exhibition was part of the I am Quixote Festival sponsored by Artist Studio Project (Rafael Osuba) and the Durham Arts Council in celebration of 400 years of Don Quijote de la Mancha. In sequence, the three relief pieces, in styles from different artistic periods, strive to express the evolution of the iconic nature of Don Quijote, which has adapted over four centuries, changing in form but not in essence, and attaining universal recognition as a cultural icon. In juxtaposition, through the choice of contrasting media and styles, I sought to mirror the intrinsic paradox that surrounds our cuerdo loco (wise fool); the ambivalence between reality, discretion and decorum versus perception, drama, comedy and temerity, with the classic representing reality, decorum and discretion, the modern standing for perception, sublimity and drama, and the postmodern hardware piece expressing comedy, recklessness and temerity.

QUIXOTE SERIES CLASSIC
available

Fired Clay, wax
21"x14"

QUIXOTE SERIES CLASSIC
private collection

Cold cast bronze
19"x12"

QUIXOTE SERIES MODERN
private collection

Celluloid clay
48.5"x 24.5"

QUIXOTE SERIES POSTMODERN
available

Hardware & metal
19" x 15.5"

ABOUT TLATOLLI-DIÁLOGO

Tlatolli-Diálogo is an artistic collaboration with my fellow visual artist, medical interpreter and soul-mate Mariana Rodríguez-Pardy. Our shared Hispanic roots and common profession inspired us to join forces to create “Tlatolli-Diálogo” in order to visually convey the ties that can be established through communication. As interpreters we help to bridge the cultural and linguistic gap between Hispanics and their new American communities. Working with immigrants at their most vulnerable, we witness first-hand both the fear and apprehension that arise from lack of communication and cultural dislocation, as well as the transformation that takes place when people start to understand each other and realize that what they have in common is much greater than their differences. Tlatolli is a term in Nahuatl (a Uto-Aztec language still spoken by 1.5 million people) meaning “conversation, dialogue or accord”. It was represented in pre-Hispanic codices and stone carvings by a speech-scroll symbol, similar in shape and function to the modern quotation mark or the speech-bubble. In Tlatolli-Diálogo, the profiles represent different ethnicities, age-groups and genders, while the blue/green spiral-shapes, inspired by the Nahuatl tlatolli symbol, indicate the idea of speech and communication between ethnicities and across cultures. The colors and composition suggest the harmony and integration that could be attained with meaningful dialogue as a catalyst. Getting to know each other as fellow humans eliminates the sense of threat and the fear of the unknown that lies at the root of prejudice

BACK TO MOSAICS

TLATOLLI-DIÁLOGO

Created in collaboration with artist Mariana Rodriguez Pardy
available

Ceramic mosaic
39" x 39.5"

ABOUT OXIDE VARIATIONS

This jazz-ensemble-inspired relief incorporates chemical patinas on metal coatings and hardware, and forms part of the Patina Series featured under Mixed Media.

BACK TO MIXED MEDIA

OXIDE VARIATIONS (PATINA SERIES)
available

Celluloid clay, hardware, metal coating, chemical patina
24" x 29"

ABOUT THE REFUGEE SCULPTURE PROJECT (on the back-burner)

mY motivation for this project is to rekindle awareness at a time when initial sensationalism will have ebbed, but the crisis will be far from over, and will likely be compounded by new humanitarian crises. If this installation, or a more traditional and less ambitious exhibit, materializes, proceeds from a possible fundraising reception would go to refugees through UNICEF, MERCICORP, UNHCR or a similar organization.

PROJECT OUTLINEPreliminary sketches.Prototype to convey how the sketches translate into high-relief. Traditional exhibit format:Six bas-reliefs/mid-relief pieces ranging in size from 36 x 40” to 48 x 40” depicting border-crossing scenes with focus on children would be displayed on walls. Large-scale installation:Six large mid-relief pieces with some high-relief areas ranging from 8x4’ to 8x6’. Figures would be life-size, created with spectator viewpoint foreshortening, with figures climbing over fences viewed from below at realistic distances, and those crawling under fences actually resting on the floor in high-relief. Possibly one or two full sculptures. Panels would be displayed on free-standing room partitions, with two rows of 3 panels facing each other some 8 feet apart to form a corridor for viewers. Fake stage-prop barbed-wire used in lieu of traditional exhibit stanchions guides viewers into single-file corridor. In order to achieve a subtler and starker impact the reliefs would be either completely white -as in the prototype- or bronze-coated and aged. I am considering the incorporation of wood, real metal fence-mesh and realistic barbed/razor wire in the pieces (as shown in prototype). Process:Original sculptures: unfired clay.Waste-mold: molding plaster Casting options:Fiber-reinforced hydrocal plaster - relatively affordable but heavy and fragileResin - Light, durable and easy to transport, but expensive.

July 2016

REFUGEE MAQUETTE

REFUGEE SKETCHES

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