D

You are cordially invited to the new studio opening and exhibition

They came, they saw…
They were witnesses
Sculptures by Julia Rivera
Paintings and installations by Erick Sánchez

Open Studio: Sat. May 19 – Sun. 20 | 12-6 pm
RSVP: ericksanchezart@gmail.com  |  julia_sculptor@yahoo.com

This exhibition will be in conjunction with the Long Island City Open Studios 2012 with over 1,000 participating artists.

Reis Studios | Studio 235
43-01 22nd Street | Long Island City | NY 11101
Take M, E Train to 23 St – Ely Av‎ | 7 Train to 45 Rd – Court House Sq

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“These abstract works on paper are the result of the exploration between gesture and medium. My experimental mixing of pigments, solid materials and acrylic, which often creates resistance between materials, is allowing me to discover new textures, forms, and effects. The result of this experimentation has been a key part of my current apocalyptic series, Dangerous Land.” Erick Sánchez

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“I will show you fear in a handful of dust”:  An Earth Day Exhibit, featuring paintings and installations by visual artist Erick Sánchez.
The Gallery Space at Wagner/Robert F. Wagner Graduate School of Public Service, New York University.
Curated by Frankie Crescioni-Santoni and Ann Chwatsky

In commemoration of International Earth Day and in conjunction with Earth Week at NYU, visual artist Erick Sánchez has created four abstract-expressionist landscape paintings, installation work, and works on paper for the exhibit, “I will show you fear in a handful of dust”: An Earth Day Exhibit. These are the latest pieces in his environmentally-focused project, Dangerous Land, which gives visual representation to the consequences of human behavior and the concomitant natural disasters which are the results of globalization, industrialization, and global warming. With this project, Sánchez argues for intensified environmental conservation efforts.

The inspiration for the exhibit’s central painting, “I will show you fear in a handful of dust,” is lines 19-30 1 from Part I, “The Burial of the Dead,” of T.S. Eliot’s poem, The Waste Land.  In this well-known section of the poem, Eliot adapts some of  its crucial imagery—the rocky, barren landscape, the absence of life-giving water, and the dead or dying vegetation—from the Biblical books of Ezekiel, Isaiah, and Ecclesiastes to suggest that “rain” is the nourishment which will revive a dying culture in body and spirit. Likewise, Sánchez’s somber depiction of an arid poppy field, which offers no sustenance to the birds flying overhead, and menacing clouds, which serve as a harbinger of things to come, suggests that the world is moving towards crisis and chaos. The piece is also a re-interpretation of Monet’s Poppy Fields series; Sánchez revisits the scene to suggest the consequences of global warming and human-originated ecological disturbances some 150 years later.  With the size of the painting, his use of contrasting colors for great effect, and the melancholic beauty of this powerful scene, Sánchez leaves the viewer with an intense psychological impression and confronts him or her to consider his or her particular role in the Earth’s future. Sánchez’s “Ahora lo tuyo no te pertenece” features another physically barren landscape, this time with an empty river; this wasteland points to the decay and destruction of human values in a world consumed by globalization, industrialization, and global warming. Our own mortality—“fear in a handful of dust”—is once again frighteningly revealed.

“Me distes oro del que no brilla” is Sánchez’s rendering of the worst environmental disaster the U.S. has faced: the BP Deepwater Horizon Spill in the Gulf of Mexico in 2010.  Sánchez’s thick brushstrokes and the intense blackness of the combination of materials used for the painting’s cresting waves of oil convey a sense of immediacy and danger. It is a painful reminder of the some 205.8 million gallons of oil spilled there and the 1,100,000 gallons of chemical dispersants used in the cleanup, as well as the extensive resulting damage to marine and wildlife habitats and to the Gulf’s fishing and tourism industries.

In this series of paintings, Sánchez is working with some unconventional combinations of materials, including recycled metals, clay, recycled rubber, glass beads, black magnum rock, and organic pigments, to make his acrylic paints very rich in texture.  His “Works on Paper” series is an opportunity for him to showcase his impulsive brushwork; experiment with color, texture, and combination of materials; and get inspiration for future compositions. The exceptional intensity of emotions and instantaneity of these pieces make them true “mini-apocalypses.”

Regarding the natural disasters represented in his Dangerous Land series, Erick Sánchez has remarked: “Theologists call it the Apocalypse; the Rapture. I call it destiny.” In traditional Christian thought, “apocalypse” refers to some future cataclysmic event that will bring time to an end and inaugurate a new millennium. The apocalyptic mode, whether in the Bible, in literature, or art, involves a visionary who represents truth in word and image and encourages a change of heart and mind. With his visual manifesto, Erick Sánchez serves as an artistic seer affecting us with the “terrible” beauty of his landscapes, confronting us with our culpability and vulnerability and thereby motivating change. The immediacy suggested is fitting for Earth Day 2012.

Christina Godlewski, Ph.D.

1 What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
T.S. Eliot,  The Waste Land (19-30)

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Erick Sánchez is a visual artist who is now showing his current series “Dangerous Land” at the William Bennett Gallery in Soho. I had the pleasure to interviewing and viewing his work at the gallery and his studio at The Art Students League’s Vytlacil Residency in Rockland County. Here is a look into Erick Sanchez’ painting process and apocalyptic world.

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I will show you fear in a handful of dust: An Earth Day Exhibit
Erick Sánchez

NYU Wagner | The Puck Building
295 lafayette St. | 2nd Fl. | NYC 10012
Info: wagner.gallery@nyu.edu | Tel: 212.998.7400

Opening reception: Wed. April 4th, 2012 | 6-8pm
On view: April 4th thru May 31st, 2012

Co-sponsored by the NYU Sustainability/Earth Week and NYU Wagner’s Student Network Exploring Arts & Culture (SNEAC)

Photography by kate Daigneault

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I’m very pleased to inform you that I have recently been selected to participate in the Artist in Marketplace program at the Bronx Museum of the Arts. The idea behind AIM is to empower artists by helping them network, build a sense of community, and introducing their work to new audiences. AIM is structured as a “collaborative residency” in which participants work directly with established artists, collectors, art critics, curators, dealers, lawyers, and other art world professionals. This program will culminate with the Bronx Museum’s AIM Biennial on June 2013 organized by a team of guest curators, and an accompanying catalogue.

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First up is Erick Sánchez who is now showing his current series “Dangerous Land” at the William Bennett Gallery in Soho. Being represented by this world- class gallery with collections of artworks by Chagall, Picasso, Dali, Warhol, etc. is nothing but short of a coup for this artist.

The William Bennett Gallery is located in the very heart of the SoHo Art District at 65 Greene Street New York, NY 10012-4336. (between Broome and Spring Streets). Gallery Hours: Open Daily, 11am – 7 pm

Enjoy reading about this awesome artist and all around great guy, Erick Sánchez.

ArteFuse - Congratulations on being represented by William Bennett Gallery in Soho. Would you consider this a big boost to your art career?

ES – Thanks Man!! This is a huge step for my career. William Bennett Gallery is one of the most prestigious galleries in SoHo and recognized worldwide for their collection of modern art. They recently expanded their selection of artists and added a few contemporary ones. They are giving me the opportunity to show with them. I feel very proud and excited.

ArteFuse – Your current series is very apocalyptic but you are a very upbeat person. Do you have a dark side that you want to bring out or is this more a social observation?

ES – (LOL) I’m a very upbeat and positive person. I’m trying to do something positive with my art. That’s why I’m working in this new series of apocalyptic landscapes. I give shape to an unstable landscape in danger of disappearing. This body of work is intended to trigger introspection and to create awareness about the consequences of global-warming, industrialization, globalization and other adverse effects of human behavior and the concomitant natural disasters, which extinguish life and nature.

ArteFuse – Being a gallery owner before and exposed to the business side of art. How has this helped you now that you are a full time artist?

ES – My past experience as a galley owner has helped me tremendously. Even though I have so much fun, dancing and singing like a madman while painting; there is also a serious side to my career. When I’m not painting, I’m submitting proposals for grants, residencies and exhibitions in a very professional way. That balance and my past experience in marketing and as a business owner have helped me to be prepared and grow as an artist.

ArteFuse -If there were a time machine, what art period you’d visit and which famous artist that you’d like to meet?

ES – Hmmm… that is a good one! There are many artists and periods that I wish to visit. But you know, the one that I think is fascinating – it’s not too far from today. I would have loved to live in New York as an artist in the 80’s when Jean Michele Basquiat and Warhol were working in Soho. That was also the beginning of the street art movement. I have always been intrigued by that bohemian collaborative way of making art.

ArteFuse – Do you take to heart the accolades or criticisms more seriously that come from either your peers in the art industry or friends and family?

ES – I would definitely take it more seriously from my art community peers. I like to listen to what they think or what they feel when looking at my work. I never take things personally. For me, it is very healthy to take criticism.

ArteFuse – Besides creating art, what other passions do you have and indulge in?

ES – For me, it’s walking around the city and doing exercise. I love to enjoy New York and everything that it has to offer. Concerts, plays, socialize or just a simple walk on the Lower East Side. It’s very good to clear my mind and to pick up new ideas. I also love to roller-blade.

ArteFuse – Would you rather paint what you believe in or paint what you think is trendy or popular?

ES – You have seen my paintings. They are very strong and non-commercial. I really believe in my statement and that’s what shows with what I paint. Now, who really wants to buy these works? (LOL) I would rather starve than paint what is popular.

ArteFuse – Poison of choice at receptions: Beer or Wine?

ES – (LMAO) I usually start with beer and make a switch to red wine. But since I’m not so picky… whatever -  it’s free!

ArteFuse – A fun fact that no one knows about your work:

ES – I always write many things on the back of my paintings. But most people won’t notice it or even see it. It is just to express myself.

ArteFuse – The End of the World prediction is around May 2012 – if we wake up to June 1st 2012 – would you make fun of those who believed in it fanatically?

ES – No, I don’t think I would make fun of them. You know what – I don’t know or care if the world is going to end or not in 2012. The only thing I know is that I love my life as an artist even though it’s very hard at times. I live every day to the fullest. And in the meantime, I’m trying to convey a message through my art.

Q & A by: Oscar A. Laluyan

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Hope you’re having a great winter. I’m very excited to inform you that my current series “Dangerous Land” is being featured at The William Bennett Gallery in SoHo, NY. The gallery is building world-class collections of modern and contemporary art by representing artworks by Chagall, Picasso, Dali, Matisse, Calder, Miro, Warhol, Rembrandt, Jean-Michel Basquiat and Erick Sánchez, among others.

The William Bennett Gallery is located in the very heart of the SoHo Art District at 65 Greene Street, between Broome and Spring Streets.

65 Greene Street
New York, NY 10012-4336
(212) 965-8707
Open Daily from 11am – 7pm
info@williambennettgallery.com
www.williambennettgallery.com

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La Rotonde, Aix-en-Provence, France

The idea of traveling to France seemed unrealistic yet exciting, until the plane landed on an early Monday morning. A direct flight from New York City brought me to Amsterdam, and by noon a connecting flight delivered me to Marseilles, where the director of the Marchutz program, Alan Roberts, greeted me at the airport. We began our journey by car to Aix-en-Provence. From the moment he started driving, I was filled with amazement and excitement at the scenery. I immediately felt myself being transported back in time.

Marchutz Atelier, Aix-en-Provence, France

Language, culture and a change in schedule created great challenges for me right from the start.

After arriving to our destination and the Marchutz’s director welcoming the group, we began by drawing from a live model. We did about fifteen quick poses as a warm-up exercise. I felt great after a long absence from drawing.

Musee Granet, Aix-en-Provence, France

That day I also went to the Granet Museum. Besides their excellent permanent collection, they have an exhibition called Collection Planque. They were displaying notable artwork by Cezanne, Renoir, Monet, Van Gogh, Degas, Leger, Picasso and many others.

Drawing at the Marchutz Atelier

During the rest of the week we continued drawing from the live model and copying from the Old Masters as well. Doing this helps one understand why those works are considered masterpieces.

Seminar I – Rembrandt on drawing – Part A

Understanding the concept of Rembrandt’s drawings teaches us to be aware of the whole.

By definition, whole is an assemblage of parts that are viewed as a single entity. Adding to that, an object or space will vary as its surroundings diversify. These variations affect the whole. For example, one object or space will be perceived brighter as its shadow becomes darker. This also allows us to manipulate the atmosphere of the artwork.

The atmosphere of a work of art can be related to its tones and mood. This might trigger different feelings. The atmosphere will also define the character of the whole.

As Rembrandt’s student stated, “the luminous effect of the whole will depend on the placement of shadows and their harmonious rapport.”

Seminar I – Rembrandt on drawing – Part B

The first question we considered was: In the process of copying, is the artist’s atmosphere predefined and necessary to incorporate into your copy? Is it malleable?

We discussed in the seminar the topic of the atmosphere of a copy, which in my viewpoint will be ultimately determined by your inner self. During the copying exercise, I personally experienced that I copied forms, composition, space and many other components of the original image. However, tone and atmosphere came from my inner self; thus the copy ceased to be a copy and became my own. In one particular instance, working purely from memory, I found myself letting the drawing grow itself into the space. I allowed the paper the power to act by itself in order to give birth to light.

We discussed that our feelings may converge with the atmosphere, that the mood of the picture might be determined by our personal previous experiences in life, the bad and the good.

The drawing scale and the image’s position are also very important, for they are also responsible for making the artist’s statement very clear. What the artist desires to communicate becomes an imperative.

Journal II
June 20, 2011 to June 26, 2011

La Ciotat, France

The second week at the program has been more intense and eclectic. This past weekend I visited different villages to enrich my travel experience. We first visited La Ciotat. This village is surrounded by a paradisiacal beach, with its hills dipping into the Mediterranean Sea that is breathtaking.

Route des Cretes, France

Crossing through Route des Cretes, we drove by many villages that blend with the mountains. At a very high altitude, on a very narrow road, this route rewarded me with striking views across the most spectacular reaches of the Grand Canyon du Verdon and the Mediterranean.

Chateau De Cassis, France

Saturday afternoon we arrived at Cassis. The first monument you see as you walk to the port is the majestic Chateau De Cassis. Facing the Mediterranean Sea, it sits calmly on top of the hill across from the village. Cassis is locates south of Marseilles. This enchanting place is overseen by France’s highest coastal cliffs. The scale reinforces the intimacy of the narrow little harbor and old town center down below.

Isle Sur la Sorgue, France

Early Sunday I was on my way to another unknown destiny. This time I arrived to Isle Sur la Sorgue. This small old town is surrounded by water. You can browse it on foot or by gondola. It is a lovely place that immediately reminds one of Venice. It is also well known by its 14 working moulins. Isle Sur la Sorgue is France’s most important antiques and second hand centre after Paris. Shortly after noontime, we enjoyed a picnic at Rousillon.

Rousillon, France

This small village is perched beautifully above a quiet yet extraordinary landscape. The mining of ochre and subsequent erosion have sculpted the red and gold earth into cliffs, canyons and unusual shapes. I found beautiful earth pigments for my paintings.

Le Chateau de Gordes, France

After the peaceful picnic and walk through the village, we headed to Gordes. My first view was a massive conglomeration of little houses that appeared to be piled on top of one another. This village is perched above the Coulon Valley. In the centre, Le Chateau de Gordes oversees the whole with renaissance dignity.

The weekend cultural journey had ended for now. The time to make art had arrived. I viewed this occasion with new experiences that might enrich my work.

Copying Camille Corot at Marchutz Atelier

Monday morning I installed my easel under a big oak in the surrounding landscape of the Marchutz Atelier. The main goal for the next couple of days was to closely observe and reinterpret master works of art. I chose to start with Camille Corot. His work has always fascinated me by its silence and mystery. We were doing this to gain a better understanding of the color, perspective and composition. We were doing the same as the great masters did, by studying and learning from their ancestors.

Seminar at Marchutz Atelier, Aix-en-Provence

During subsequent days I also studied Monet and Van Gogh. The light in Aix-en-Provence is beautiful. Now I understand why a great number of masters came to study painting here.

Thursday morning we had the second seminar of the program called Color and Drawing. I studied and read Delacroix, Corot, Baudelaire and Van Gogh. Discussed: How Delacroix sees the world? Also discussed: What does Van Gogh mean by “local color”?

Luberon, France

On Friday we had a unique field trip at Marchutz. We went to Lourmarin, Gorde and Luberon to observe nature and study the architecture.

Seminar II – Color and Drawing – Part A

-What distinguishes a “colorist” from someone who is not according to Delacroix? How does Delacroix’s colorist see the world?

A colorist will be able to succeed in making it understood that objects have depth, thickness and body by simply using a line. A colorist does not fix the contour line equally throughout. It is made free and unbound, almost broken in certain places, accentuating it in others by means of a second, even a third line if necessary, or even using a wider, richer line, always careful that the line never becomes like iron wire.

Delacroix’s colorist sees that the tones decompose themselves with every hour and the reflection does not separate itself from the depth, just as the line does not separate itself from the model.

-What does Van Gogh mean by local color?

By local color Van Gogh meant the exact color of the object. One does not have to follow the colors of nature mechanically and severely, one can intelligently make use of the beautiful tones with the colors from their own accord when one breaks them on the palette. When starting from one’s palette, from one’s knowledge of harmony and color, copying the same exact color of nature matters very little. Everything depends on our perception of the infinite variety of tones of the same family.

I agree with Van Gogh’s theory. Colors in a painting must come from the inner self, not necessarily from the outside, which yields  a much more interesting and powerful painting.

Seminar II – Color and Drawing – Part B

-Is it more important to portray a spatial depth as Delcroix describes, or to portray emotional depth as Van Gogh describes?

In my opinion both concepts belong together. By understanding the light, it’s reflection on the objects and and how it breaks the silhouettes with every instant, instead of a flat image, everything is raised in full depth. However, this thought is complimented by the emotional depth concept. We should not care much whether the colors are exactly the same as what we are representing, as long as it looks as beautiful on the canvas as it does in nature.

It is very intriguing how Delacroix spoke about being a “colorist” without actually using color, rather by using a line with character and how he masterfully achieved depth. The character of the line is related to the color. A well done line has the capacity to convert a two dimensional image into a three dimensional one and a live one.

Another great example of Delacroix “colorist” theory is Baudelaire’s Salon review of Daumier. “His drawing is naturally colored. His lithographs and woodcuts awaken ideas of colors. His crayons contain something besides black, good for definition and contours. He makes you intuit the color as he makes you intuit his thought. Now this is the sign of superior art, and all intelligent artists have seen it in his works.”

Corot once advised Pisarro, “Above all you must study values. We don’t see in the same way: you see green and I see gray and blond. But this isn’t any reason not to work at values, for that is the basis of everything. In whatever way one may feel and express oneself, one cannot do a good painting without it.”

During the seminar we also discussed how body and objects in general have different thickness in different parts. Some are more solid than others. By understanding this we will be able to perceive volume.

Another important characteristic of a good work of art is harmony. This concept can be defined in many aspects. For example, by combining and complimenting colors intelligently. Also, by placing the figures or masses strategically within the space.

Since understanding Delacroix’s statement, I have been more aware of the character of the line and its necessary breaks.

Drawing at Parc Naturel Regional du Luberon

Part of our artistic and academic development at the Marchutz program is to get in direct contact with Provence’s magnificent architecture. We visited Lourmarin, Gorde and Parc Naturel Regional du Luberon. We went there to feel and understand its architecture.

Previous to this trip we studied: “The Timeless Way of Building” by Christopher Alexander. In the lecture he mentioned the concept of the “quality without a name”. Alexander stated that there is a central quality which is the defining characteristic of life and spirit in a man, a town, a building or the wilderness. This quality is objective and precise, yet cannot be named.

Luberon Village, France

We approached by foot the village in the Luberon, we found a staircase facing it at a distance. We sat and talked about what we were seeing. I immediately noticed the harmony and patterns. But those patterns were never the same twice. You can observe many similarities and uniqueness at the same time. It is very noticeable how the village sits on top of the mountain, blending into nature and the sky as well. From the distance it looked peaceful. I felt a celestial silence, and also perceived a stillness in time which is eternal. It became the opposite as I got closer. As I approached the structures, it started to feel as if they were alive.

If you combine and mention all these characteristics and many more, you cannot name it’s quality. I guess this is what Christopher Alexander meant by “the quality without a name”.

A borie

As part of this journey, we also had the privilege of visiting a borie. This is one of the most ancient forms of construction. They were built with dry stone perfectly fit one on top of the other using no type of adhesive. Some of these dated from the first century and still stand like they were built yesterday. It was fascinating to go and sit inside of one of these structures. After my eyes adjusted to the limited light, I began to appreciate its organic form and antiquity. It was a truly unique experience.

Notre-Dame de Senanque Abbey, France

Our last stop of the day was at the Notre-Dame de Senanque Abbey. This monastery dates back to the 12th century. Nestled at the bottom of the valley, Notre-Dame de Senanque Abbey is one of the purest examples of the Cistercian life and architecture. It is also one of the best places to see Provence’s famed lavender fields. It was founded in 1148 and populated by Cistercian monks who lived and prayed in Senanque.

Journal III
June 6, 2011 to July 1, 2011

Packing to go plein air painting

On Monday morning we went to paint plein air in Le Tholonet. I immediately found a beautiful spot, under a big tree facing a rich colored wheat field. In the background there was a very interestingly shaped mountain with a strip of dancing trees at the foot of the mountain. It seemed the perfect place to start the day. I began to apply paint, texture and more paint, then sprayed it with water to make it drip. I scratched the surface with the palette knife and a stick. I suddenly realized WHAT A DISASTER!

Plein air in Le Tholonet, France

I hate to admit it, but I did struggle. I struggled in the same manner as Van Gogh. I felt like I was painting for the first time in my life. I came from New York, world capital of art, with a conceptual artist’s mind, set on conquering Provence. Huge mistake! I was very used to painting on a large scale with many different colors and pigments in the comfort of my own studio. What I did not realize was that this was a totally different scenario. I had to go back to the basics.

The directors John and Alan discussing the work

The first two days out on the field were very difficult for me. I even considered taking the first flight back to New York. I thought of walking away from what at the time seemed like nonsense, even though it contained beautiful landscapes. Five years ago I had painted many beautiful landscapes in Puerto Rico, so I felt like I was going into the past. Then I asked myself: How am I going to paint this enchanting and luminous Provence landscape if I only want to paint with black, gray, white and burnt sienna? I came against a big wall. Now it was time to make a decision. After all the frustration, anger and uncertain thoughts passed, all became clear. I told myself that I had painted small scale before, and these scenes for many years. I felt it impossible to be defeated by this landscape, so I decided to overcome such feelings and go with the flow. I decided to bring a positive attitude to this experience and furthermore convinced myself that something good was going to be gained from it.

Plein air painting in Le Tholonet

The next day I felt much better when we went out into the field. I had a different attitude, an open mind. The truth is that most of the time we set our own barriers. The results were a lot more encouraging than the day before. I managed to observe, understand and reinterpret the whole. On that day I achieved an infinite ochre and violet gamma among the spectrum. The atmosphere was alluring. The lights and shadows danced rhythmically with the soft breeze. After all those good results, I still felt something was incomplete. I would have to keep working. Eventually, I realized the surface I was working with had a little too much texture. Early the next day I prepared new and smoother surfaces and began painting on those. The outcome was much improved. The painting looked fresher, luminous and had beautiful movement. It seemed like I achieved a step further in terms of harmony and volume of the whole.

Seminar at Marchutz Atelier, Aix-en-Provence

We had a seminar on Thursday on “Statement and Rendering”. For this seminar we read Flannery O’Connor’s essay “The nature of aim and fiction”, from her book Mystery and Manners. We discussed the concept of “concreteness”, which I will detail further in the journal. I also had the opportunity to read “The letters of Vincent Van Gogh”. This is a memoir of Van Gogh’s life written by Theo’s wife, Johanna Gesina. She gives us an insight into his family life and their history. Also described, in quite some detail, are Vincent’s life travels, jobs, loves, successes, failures, illness and death. This reading was a preparation for the next day’s excursion to Arles and St. Remy, where Van Gogh painted and drew over 300 of his masterworks. His determination was inspiring.

Langlois bridge in Arles, France

Early Friday we arrived at Langlois bridge in Arles, which had been moved from its original site in order to preserve its integrity. It was still very well preserved. We spent a few hours discussing Vincent’s reading.

John Gasparach discussing Van Gogh and Monet

We also compared and contrasted it with one of Monet’s paintings. While at this location, I felt the mistral that Vincent refers to in many letters. With those strong winds, he managed to paint  by holding his canvas on the ground with his foot.

Alyschamps Arles, France

Later, we went to the Alyschamps. This marble and stone sarcophagi marks the site of the Roman necropolis where the city’s dignitaries were buried. Among many legends surrounding the site is the claim that Christ appeared there. Those legends may have triggered the interest of Van Gogh to paint a few canvasses on this site. It was exciting to be in the exact place where the great Van Gogh painted some of his masterworks.

Trinquetaille bridge, Arles, France

After the Alyschamps, we arrived near downtown Arles where Van Gogh painted the Trinquetaille bridge. We discussed the people moving and the continuity of the painting. That is what probably attracted Vincent’s attention to that site.

Arles Hospital

We also visited the Arles Hospital where Van Gogh stayed and painted some scenes, including it’s courtyard. We explored the painting and compared the theme of his artistic work. We definitely found many similarities, contradictions, omissions and reinterpretations, which make his paintings unique.

Roman Colosseum, Arles, France

As we walked, I was more amazed by the antiquity of the marvelous city of Arles. There, I had my first encounter with a Roman Colosseum. It stood straight and proud and left me breathless.

Mont Majour Abbey, St. Remy, France

After lunch we went to St. Remy. It is another village where Van Gogh painted many masterpieces, including Starry Night. Our first stop was the Mont Majour Abbey.

In the 10th century a community of Benedictine monks settled on a rocky mountain island rising up from the marshes just outside of Arles, the Mont Majour. This abandoned abbey, mostly in ruins, was the platform for some of Vincent’s most outstanding drawings. He never painted there because of the mistral. Some parts of the Abbey have recently been restored and now serve as a historic landmark.

Saint Paul Asylum, St. Remy, France

Our last site visit of the day was Saint Paul Asylum. Unable to live securely on his own, Vincent voluntarily entered St. Paul, a psychiatric asylum in St. Remy de Provence. When Vincent entered the asylum on May 8, 1889, his condition was diagnosed as a form of epilepsy. As long as he remained stable, he was allowed to paint. Sometimes, he was allowed to paint by the courtyard and the olive trees that surrounded the property. He usually painted from his room, looking at the landscape through an empty window.

Van Gogh's room, St. Remy, France

I had the opportunity to be inside a room exactly like Vincent’s, and looked through that empty window. It was not a good feeling. Although the surrounding landscapes were beautiful, the feeling of confinement when looking through the bars was unavoidable. At the asylum he suffered four major attacks. He lived there for a year close to the end of his life.

Seminar III – Statement and Rendering – Part A
Based on the lecture “Mystery and Manners” by Flannery O’Connor

-What does Flannery O’Connor mean by “concreteness”?

By applying the “concreteness” concept to a work of art, she means that it is organic and grows out of the canvas, different from every other that has ever been done, valuable and works by itself. It appeals through the senses, enhancing touch, taste, smell, sight and hearing. There are details that, while having their essential place in the space, operate in depth as well as on the surface, increasing its power in every direction.

"Starry Night" by Van Gogh

While observing “Starry Night” by Van Gogh, I have noticed this concreteness concept. The first impression I get from this work is movement, it has awakened all my senses.
I immediately feel the strong cold breeze and hear it whistling in my ears. My eyes cannot stop moving rhythmically along the canvas. It also invites me to go from behind the cypresses into Saint Remy village. I can smell the humid grass and am aware of wanting to taste mushrooms. I can perceive great color harmony with complete tonal values. This characteristic makes this painting more dramatic and interesting. The smaller elements of the picture are points that together complement each other and become part of the whole. The use of dark colors and strong lines must be a reference to his feelings and emotions. By his assertive lines, by painting the night sky filled with swirling clouds and star ablaze with their own luminescence, this painting comes alive.

Seminar III – Statement and Rendering – Part B

During the third seminar the panel brought back the question: What is concreteness in art? We decided to examine this further.

The concrete in art is intensely emotional or keenly perceptive. We also elaborated on a discussion regarding the five sense and the quality that the work must have.

Concrete art is selective and it’s accuracy is the essence that creates movement.

We also discussed different concrete visions: tropological, allegorical, and analogical. Tropological is moral, which entails what should be done. Allegorical is when one fact pointed to another. Analogical is the kind of vision that is able to see different levels of reality in one image or situation.

There was also a debate about reality and truth. It was said or pointed out that everybody has their own interpretation of reality. However, truth is being in accord with a particular fact, event or actuality.

The few characteristics that can be found in concrete art were stated; it is important to be lucid or clear to understanding. The artist’s statement must be clear and may also be mysterious.

In a concrete art, the artist uses his reason to discover an answering reason in everything he sees. For him, to be reasonable is to find, in the object, in the situation, in the sequence, the spirit which makes it itself.

Journal IV
July 2, 2011 to July 9, 2011

Marchutz Atelier, Aix-en-Provence, France

On Saturday morning I woke up feeling energetic and went directly to the atelier. During the last week I had been painting a special piece. I wanted to examine it more closely in order to produce a larger work. As Van Gogh used to do, I observed and reinterpreted the smaller piece. Many changes occurred in terms of composition and color. I also changed the position of the main character and the color of the sky. The sky went from a light blue violet to vibrant golden and orange. I used more contrast that in the original study. That converted the main character tree into a more vivid one. The results were intense.

Marseilles, France

The next day I visited Marseilles, the oldest city in France. It was founded 2,600 years ago by Greek settlers from Asia Minor. This city is crowded but presents a free spirited environment. It is filled with chalk hills and flanked by white cliffs facing the Mediterranean Sea. The seaports of Marseilles are a trading hub and point of entry for immigrants. It reminds me of the history of New York. Marseilles is a collection of urban villages, from the souk-like market areas to tiny fishing settlements. This is home to French music, football, bouillabaisse and exquisite cuisine. Picturesque and picaresque, it is a vibrant place.

Notre Dame de la Garde Cathedral, Marseilles

Marseilles is a big city. The smartest way to travel is on the “Petite Train”. This ride gave me an overview of the entire city. I rode to the Notre Dame de la Garde Cathedral. This Romanesque-Byzantine cathedral was built 1214 and underwent extensive restorations between 2001-2008. This cathedral is the symbol of Marseilles. Perched on the city’s biggest hill, and topped with a 30 foot high gold statue of the Virgin, it can be seen from long distances. The views are spectacular.

Chateau d'If, Marseilles, France

After heading back to the port, I decided to try something adventurous. I traveled by boat to a solitary and enchanting island to visit Chateau d’If. This was certainly been my most awkward adventure yet.

The Count of Monte Cristo's cell

The chateau is full of mystery about events that have taken place there. As I approached the remote island, I felt a sudden chill under my skin. This was the legendary prison of the man with the iron mask. Who was that man? Louis XIV’s troubled brother? A meddling royal priest? Dante? The Count of Monte Cristo? No one knows.

In 1687 he was clamped in a mask locked away at Chateau d’If. He was considered dangerous. There was silence inside his cell. It reminded me of El Morro Fortress in Puerto Rico.

Palais Lonchamp, Marseilles, France

After that different experience, I traveled to the Palais Lonchamp. It is the great expression of Marseilles’ 19th century “Golden Age”. A water tower is embellished in Palatial Second Empire style. Fountains, columns and animal sculptures evoke abundance and fertility.

Before leaving Marseilles I walked under the Arc de Triomphe on the Place Jules Guesdes. This monument was constructed in 1823 by Penchaud. It commemorated the victories of the French Revolution and the First Empire. It is also a tribute to the glory of the Republic, the Consulate and the Empire. It marks the old entrance to the city.

Sculture workshop with Gregg Wyatt

On Monday the sculpture workshop by Gregg Wyatt began. I realized I was at a  new stage in my career at the Marchutz Atelier. The purpose of the workshop was to give us insight into the different types of sculpture methods and procedures. In contrast to a painting, sculpture has a form and volume. It is three dimensional artwork created by shaping, molding or combining material. It has physical volume, specific gravity, mass, form and material.

Quick sketch with a 12 gage copper wire

As we talked and experimented, the first assignment given was to create a quick sketch with a 12 gage copper wire. The wire was to be the structure supporting the first material we used, called green plastillina. The plastillina is a very soft and malleable synthetic material. It can be easily transformed and shaped. I actually enjoyed doing this, working with a technique called inside-outside.

Sketches of bent trees for the sculptures

I began by doing a wire sketch of a bent tree. I thought about my artist’s statement and that was the first thing that came to mind. The bent tree resembles the effect of years of hard work on immigrant workers while away from their families. We all come to the U.S. seeking a better life. At what cost? The bent tree can also be interpreted as the result of global warming or the contemporary issues affecting society today.

I started to shape my model and the result was very interesting. I saw that the concept and materials had potential. A good characteristic is that the interior frame provided the sculpture with good support. However, though the plastillina is very malleable, it is too soft and can easily damage. This was the downside of this project.

Next we experimented with plaster. Greg showed us how to mix and manage the material properly in order to achieve the best result. We explored different stages of hardness with the plaster and its properties.

Plastillina and terracota

On the next day we tried something new with terracotta. By using the first model of the bent tree, I shaped the new model made only of terracotta with no wire inside. I noticed the sculpture did not have much strength because it did not have any structural support. This made the process harder; it eventually fell apart.

A synthesis of the two sculptures

On Wednesday, Greg asked us to make a synthesis of the two sculptures. We composed two more wire drawings, one bigger than the other, He wanted us to combine the best characteristics from each into a new model. I kept developing the bent tree concept into a new, enlarged and stylish sketch. It gave the feeling of the wind effect over the tree. I finally decided to keep using a plastillina. It was a firm one. The new material responded very well to any shape and form I applied. It allowed me to add the desired volume, form, texture and mass. It was also a much firmer model than the initial one. At the end I added a green plastillina leaf to the tree to signify hope. After finishing my model. I decided to coat it with shellac to make it stronger. I did not like the shiny look, so I immediately removed it with alcohol. Instead, I ended up giving my model a final glaze with terracotta water to accentuate the shadows in the volume.

On Friday we had a seminar about light and volume. I will provide further details later in the essay.

The walled city of Avignon, France

Saturday morning I went to Avignon. It took me about an hour to get there by bus from Aix-en-Provence. I noticed that Avignon is a walled city. Avignon was named after its violent wind, the mistral. It is also referred to as the City of Popes. In 1309, Pope Clement V transferred the Papacy to France to escape the political turmoil in Rome. For 68 years, Avignon became the religious, political and cultural centre of Christendom.

The magnificent Papal Palace in Avignon

In 1335 the magnificent Papal Palace was built. It took 20 years to complete. Pope Benedict XII was responsible for the sober Cisterian architechture of the old palace. His successor, Clement VI, added the new palace in Gothic style, creating a massive ensemble of towers and stone walls soaring 165 feet above the town center. It remains a monument to the immense power of the Papacy in the middle ages and is a world heritage site for UNESCO. The surrounding views from the palace’s garden are endless and take in the 13th century Pont St. Benezet.

Yvon Lambert Musee d"art Contemporain

After lunch I decided to visit the Collection Yvon Lambert Musee d’art Contemporain. This is Avignon’s premier showcase for contemporary art. They were showing an immense retrospective exhibition of the photography of Cy Twombly. The Lambert collection also displays works from Anselm Keifer, Constantine Brancusi, Edgar Degas, Sol Le Witt, Augustin Rodin, Ed Ruscha, Hiroshi Sugimoto and Edouard Vuillard, among others.

Performance on the street of Avignon

As I walked the streets of Avignon, I felt great energy of a lively town. During this time of the year, Avignon celebrates its world renowned theater festival. You can enjoy a mini play at almost every corner of the village.

The art collection in Avignon is priceless

The art collection in Avignon is priceless.  You can find one of Eurpoe’s finest collections of Medieval and Renaissance art with exceptional early works by Boticelli at the Musee du Petit Palais. There is also a fine collection, from ancient Greece to the Twentieth Century, at Musee Calvet. You can also find works by Cezanne, Manet, Picasso and Van Gogh, among others, at the Musee Algladon-Dubrujeaud.

Seminar IV – Light and Volume – Part A

“I do not mean the volume of a single object, but the volume of the whole image has omissions in the single object as a corollary volume results from the light of the image, or its abbreviations, which may well be only in black and white.” Leo Marchutz

-What does Marchutz mean by “corollary volume”? – How does it come about in a painting?

Marchutz means that volume is a natural consequence or direct result from the light on the object.

In a painting the volume is created by the combination of light and shadow, which create depth and space in the object. Volume can easily be mistaken as mass, although mass implies weight. Some objects have both, volume and mass, while others do not.

Volume is a solid form with a particular shape and size. It is determined or shaped by the position or extension of the light.

To avoid flatness on a painting, we must have volume.

Seminar IV – Light and Volume – Part B
Based on the reading: Dante, Canto XXXIII Paradiso

One single flame

“Oh grace abounding, wherein I presume to fix my look on the eternal light so long that I wearied my sight thereon! With its depths I saw ingathered, bound by love in one volume, the scattered leaves of all the universe; Substance and accidents and their relations, as though together fused, after such fashion that what I tell is one single flame.”

By reading and discussing a segment of Dante’s Canto XXXIII, Paradiso, the group leading the seminar arrived at the following question.

-How does the volume relate to substance and accidents?

Volume by definition is the amount of space occupied by a substance. In music, it is also the fullness of sound. Substance is a physical matter or material. It can also be defined as the essential part.

In the discussion we described that the substance had depth, it may also have a particular shape and form.

The substance is more concrete than the accidents, which are not usually totally planned out. However, sometimes we perform actions intended to create accidents. The accidents can then be turned into substance.

Life and nature are composed of many seeming accidents. These make things look real and alive. They are related to substance and a create need.

Accidents can create volume and that volume can be a substance. Substance is the core. Accidents can change form. However, substance’s form is more stable. Substance might be a consequence of an accident.

Sound is also related to volume. Sound can fill a space and become substance.

Journal V
July 11, 2011 to July 17, 2011

On Monday morning we started a new sculpture workshop, this time using wax. We used the victory brown wax which has a bronzed look. The wax molding process is commonly used by sculptors. It can be liquified and cast molded. The wax is usually converted into bronze.

After learning a few basic steps about how to manage and shape the wax, we started a new project. We had to create a wax sculpture that would be cast in bronze. We had to think not only of the design, but also of the stability and engineering of a self sustained three dimensional object.

Wax borie

For this new art project I decided to create a borie. The borie is one of the most primitive forms of shelter. They were constructed only with dry stone. Some of these structures date back to the first century. I thought of using this concept for two main reasons; first, I was amazed that after so many centuries these structures still stand. Secondly, it spoke to the lack of shelter many people around the world experience. This new project would symbolize shelter for humanity.

I started cutting out small pellet sized pieces out of the victory brown wax. Then I started to form my borie structure from the bottom to the top. I gave a rock shape to every single piece of wax. I also used the alcohol torch to shape and attach the pieces to each other. The next day I continued giving shape to the borie. I used a sharp tool to scratch the surface of every piece in order to give it a rough and more realistic aspect. By the afternoon the project was finished and now was ready to transform into bronze. I chose a green patina for the finish of my project at the Coubertin Bronze Foundry. Perhaps this is the beginning of the sculptor in me. Who knows?

Cezanne's atelier, Aix-en-Provence

On Wednesday we went to the Cezanne excursion. We began by visiting Cezanne’s atelier. The light and size are very impressive, I thought. An artist’s creativity would be enhanced there. We gathered in the patio and talked about his work and some of his ideas. Cezanne was mostly focused on the forms. He believed that art is a harmony which runs parallel to nature. Painting from nature is not to copy an object, it is realizing one’s sensations. He also reflected on two things in a painter, the eye and the mind, and that each of them should aid the other.

Cezanne's Chateau Noir

After Cezanne’s atelier we went to the Chateau Noir. Between 1887 and 1905, Cezanne painted 19 oils and 20 watercolors around Chateau. There he was able to paint without being disturbed. Other motifs surrounding the Chateau were: the house he saw through the trees, the cistern and the well, the millstone,the forest floor and pines, the rocks and the caves in the cliffs, and of course, Sainte- Victoire. After the Chateau Noir we also visited Le Tholonet and Sainte-Victoire. The peak of Monte Sainte-Victoire attracted Cezanne all of his life. He did a series using this mountian as a motif. We discussed at some detail some of his paintings on the site. This discussion was also related to our next seminar about Content and Form.

Seminar V: Content and Form

For the seminar about Content and Form we read the essay “Painting and Painters: How to Look at a Picture, from Giotto to Chagall” by Lionello Venturi.

We had to select a painting of reference and show how the content is embodied through the form of the work. We were asked to describe some of the specific color and drawing relationships that contribute to the fusion of content and form.

"Impressions: Rising Sun" by Claude Monet

By observing and trying to comprehend the painting “Impressions: Rising Sun” by Claude Monet, I can clearly see the content and form.

There is a strong unity of the brush strokes along the canvas. The colors of the painting, gray, blue and orange, seem to complement each other and blend with the atmosphere.

Monet, by applying assertive and abstract brush strokes achieved in letting us believe that there are buildings across the water. He also ties together the sky with the water through color and form. He mainly accentuates the round red impression of the rising sun by its prominence in form and color. He also accentuates the boat in the picture, but Monet does not bring it to the forefront by leaving out details and by using lighter tones.

In this painting Claude Monet seems to have mastered the motif with a few assertive brush strokes.

Champs-Elysées on the Bastille Day

Immediately after the seminar I was to make one of the most exciting trips in France…Paris was my next destination. The ride on the TGV from Aix-en-Provence to Paris was fast. By 6p.m. I was in the French capital, where I saw many war tanks and soldiers. It was July 14, Bastille Day. France’s national holiday commemorates the storming of the Bastille at the onset of the French Revolution. The area by the Champs-Elysées was crowded and the military parade was led by the President. Parisians celebrated until dawn as fireworks exploded over the city.

Musée du Louvre, Paris

On Friday morning I walked the Jardin des Tuilleries until I reached the Seine River. The Jardin des Tuilleries is located west of the Louvre Museum in central Paris. This gorgeous garden has many wonderful statues and a pond. It is a great place to enjoy a picnic lunch and relax when visiting the Louvre. By noon I took a quick tour of the city by bus, a good way to learn about the city. After the tour I went to the Musée du Louvre. Originally a royal palace, the Louvre became a public museum at the end of the 18th century. It is located on the city’s western edge, in the heart of Paris. There are about 35,000 objects on display. It spreads out over three wings of the former palace. The collection is diverse, ranging from antiquity up to the mid 19th century.

At The Louvre with the European sculptures

A large part of the collection consists of European paintings and sculptures. Other rooms contain Roman, Egyptian, Greek and Oriental art. Some of the most famous works of art in the Louvre are the Venus of Milo, the Nike of Samothrake, the Dying Slave by Michelangelo and Leonardo Da Vinci’s Mona Lisa.

In the evening I went to Arc de Triomphe and Champs Elysées. The arch was commissioned by Napoleon in 1806 to commemorate his victories, but he was ousted before the arch was completed. In fact, it was not completed until 1836 during the reign of Louis-Phillippe. The Champs Elysées is an impressive promenade that stretches from the Place de la Concorde to the Place Charles De Gaulle, the site of the Arc de Triomphe.

The Eiffel Tower, Paris

At its western end the Champs-Elysées is bordered by cinemas, theatres, cafés and luxury shops. Near the Place de la Concorde, the street is bordered by the Jardin des Champs-Elysées. It is beautifully arranged with gardens, fountains and some grand buildings including the Grand and Petit Palais at the southern side of the Elysée at its northern side. The latter has been the residence of French Presidents since 1873.

Musée d'Orsay, Paris

Early Saturday I went to the Musee D’orsay. I was first in line. I felt like a child waiting for the toy store to open. The history of the museum, of its building, is quite unusual. In the centre of Paris on the banks of the Seine, opposite the Tuilleries Gardens, the museum was installed in the former Orsay railway station, which was built for the Universal Exhibition of 1900. The train station had been completely abandoned since 1961, when it was saved from demolition by President Pompidou. In 1978 his successor, President Giscard d’Estaing decided to use the Gare d’Orsay as a museum for 19th and 20th century art. It would not only contain paintings, but it would also cover different art forms to include sculptures, engravings, photos, film, architecture and urbanism. Restoration of the Musée d’Orsay, as it is now called, began in 1979 and finally on the 29th of November in 1986, the museum was inaugurated by the French President François Miterrand.

When it opened, the museum contained approximately 2,300 paintings, 1,500 sculptures and 1000 other objects. Most of these works of art came from other museums such as Musée du Luxembourg. Over time the collection has expanded significantly, due mainly to acquisitions and gifts.  It covers a period from the mid 19th century up to 1914 and contains works from Degas, Rodin, Monet, Manet, Renoir, Cezanne, Van Gogh and many others.

Monet's house in Giverny

Saturday afternoon I went to a most special place, Monet’s house and gardens in Giverny. I think this was one of the highlights of my French experience. I went to his room and looked through his windows. I was transported to his époque, imagined myself living there and opening these very windows every morning to look at the same view. I now understand why he never left his gardens to paint elsewhere. He possessed infinite motifs to paint there.

Monet's livingroom in Giverny

In 1883, then middle aged Claude Monet, his wife Alice and their eight children from two families settled into a farmhouse west of Paris. Monet, at that point already famous yet happiest at home, would spend 40 years in Giverny. He built a pastoral paradise complete with a Japanese garden and a pond full of floating lilies.

Monet's Japanese garden

In 1890 Monet began renovating his garden, inspired by tranquil scenes from the Japanese prints he collected. He diverted a river to form a pond, planted willows and bamboo on the shores, filled the pond with water lilies and the crossed it with a wooden footbridge. As years passed, the bridge became overgrown with wysteria. He painted it at different times of day and year, exploring different color schemes. Later in life, Monet’s muse became the changing reflections of nature in a pond.

Monet's garden in Giverny

In the last half of his life, Monet’s work shrank to encompass only Giverny. The greatest visionary, literally, of his generation, not only is he the father of the French Impressionist Movement but also one of the leaders of modern abstract art. He was the most consistent and prolific practitioner of the Impressionist Movement’s philosophy of expressing one’s perceptions before nature, especially as applied to plein-air landscape painting.

Vibrant and artistic Montmartre

On Sunday morning I went to Montmartre. It reminds me very much of Williamsburg, New York. It is the most vibrant and artistic Parisian sector.

Basilica of the Sacré Coeur

Montmartre is a hill which is 130 meters high in the north of Paris. It is primarily known for the white-domed Basilica of the Sacré Coeur on it summit and as an art district.

In the mid-19th century, artists such as Johan Jongjind and Camille Pisarro came to inhabit Montmartre. Only at the end of the century did the district become the principal artistic center of Paris. A restaurant opened near the old windmill near the top, the Moulin de la Galette. Artist’s associations such as Les Nabis and the Incoherents were formed,  and individuals including Vincent Van Gogh, Henri Matisse, Pierre-Auguste Renoir, Edgar Degas and Henri de Toulouse-Lautrec worked in Montmartre. They drew some of their inspiration from the area.

Pablo Picasso, Amedeo Modigliani and other impoverished artists lived and worked in a commune, a building called Le Bateau-Lavoir, from 1904-1909

Espace Dalí Montmartre

I also visited the Espace Dalí Montmartre, which displays more than 300 works of the artist. At the end of the 19th century Dalí thought of Montmartre as the center of artistic life, with Toulouse, Modigliani, Renoir and Picasso. Artists workshops began to flourish like the famous Batueau Lavoir (1907), where cubism was born.

Dalí came to live at 7 Rue Becquerel, in the apartment that Paul Eluard founded in 1929 for Gala. He could not miss seeing the windmills, an essential aspect of the Montmartre myth and of Cervantes’ “Don Quixote, Knight Errant”, which he wanted to illustrate. In November 1956, Dalí undertook “the first engravings of the Don Quixote series before the press, in the Place Jean Baptiste Clément. The master used two rhinoceros horns and some bread dipped in ink for the process. A short film was made to immortalize the scene. It was “to illustrate paradoxically all the electric mystery of the liturgy of this scene and the moral character of the audience”.

I went back to Aix that afternoon full of energy and excitement.

Journal VI
July 18, 2011 to July 21, 2011

Painting the rain at the Marchutz Atelier

On Monday morning on the last week of the Marchutz program, I stayed at the atelier. I worked on a larger canvas using the small studies as reference. This gave me the opportunity to make other decisions than when in the field. Both ways yielded interesting results.

On Tuesday morning it rained heavily. I decided to capture the rain while painting from inside the atelier. The colors of the landscape under the rain were beautiful. An infinite gamma of grays blended with the atmospheric greens and black. The rain gave the painting a different character and atmosphere.

On Wednesday I kept working and gave final touches to other paintings for the Thursday night art exhibition.

Alan Roberts, Erick Sánchez and John Gasparach

On Thursday morning we had the last seminar, this time about tradition. Later in the evening we had the opening for the Marchutz Program exhibition. Alan and John made a very good choice of works from the artists. It was a very nice gathering and we said good bye to each other.

Seminar VI: Tradition

In R.D. Elliot’s essay “Tradition and the Individual Talent” from the book The Sacred Wood, what does Elliot mean by the “main current”?

The artist must be very conscious of the main current, which does not flow invariably through the most distinguished reputations. But the difference between the present and the past is that the conscious present is an awareness of the past in a way and to an extent which the past’s awareness of itself cannot show.

Someone said: “The dead artists are remote from us because we know so much more than they did.” Precisely, and they are what which we know.

The progress of an artist is a continual self-sacrifice, a continual extinction of personality.

Summary

Marchutz Atelier, Aix-en-Provence, France

My educational experience at The Marchutz Art Program was vast and rich. This program allowed me to learn in depth about art concepts never taken into consideration before. For me one of the main concepts studied was “The Whole”. This concept helped me realize that you don’t have to follow nature’s colors mechanically and severely. You can intelligently make use of the beautiful tones with the colors from their own as long as they look harmonious. Copying exact same color of nature matters little. Everything depends on our perception of the infinite variety of tones of the same family.

There is no doubt that the Marchutz art Program achieved their mission that is above all to develop the student’s capacity to see. But it is also to instill in each individual interested in artistic expression a perception of the nature of art itself. I do believe that what I have learned at the program is going to be transcendental. I know that I will apply that knowledge in my future work of art.

At the Marchutz Atelier, Aix-en-Provence, France

One of the highlights of the program was the Greg Wyatt’s sculpture workshop. I truly enjoyed it. This workshop awakened my curiosity about sculpture. Greg is very knowledgeable and an excellent communicator. He really gave me an insight and approach about different types of sculpture methods and procedures.

I enjoyed learning about French culture. However, learning the French language was very challenging for me. It limited my ability to communicate with others.  I also appreciated visiting many museums across France. One main constant characteristic is that you can appreciate art and beautiful architecture everywhere you go. There are many monuments and sculptures in every city I visited. I also had the opportunity of visiting many museums and was able to admire artworks from some of my favorite artists. That was a very outstanding experience for me.

This experience was truly exceptional and I highly recommend it to artists in general regardless of their career stage.

This Painterly Journey was made possible by the Fantasy Fountain Fund and generous contributions from: Gregg Wyatt, Yolanda Romero, Eileen Collins, Ramses Lukis, Nedra Rosen, Victor Cortés, Tony Perez, Eduardo Rubio, Wilfredo Pereira, Yilitza Oliveras, Dr. Roberto de Jesus and Roberto Benejam.

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PARALELOS IMPOSIBLES: Sánchez – Edwards
Abrazo Interno Gallery
Clemente Soto Vélez Cultural and Educational Center
107 Suffolk St. New York, NY 10002

January 18 – 28, 2012
Gallery Hours: Daily from 3:00 – 7:00 pm
Directions: F, J, M or Z trains to Delancey/Essex

The exhibition Paralelos Imposibles: Sánchez – Edwards juxtaposes a series of intricately executed canvases full of arresting contrasts in both subject matter and execution. The ruling cityscape/landscape oppositions depicted and expressed bring us face to face with the ever-relevant existential struggle of man as both nature and civilization made ever more complex by frenetic consumerism, the interstitial forces of globalization, rampant industrialization, and fratricidal ecocide. In effect, the results of this strategic opposition of Sánchez / Edwards provide a strong sensual immersion into (im)possible parallels.

At first glance the differences that mark the (im)possible seem fairly obvious, and the stage is set up for a confrontation of manifested archetypal forces – churning whirlpools, birds in flight, and erupting volcanoes are only a few of the primordial symbols of the immensity of nature’s power, always underscoring our implicit helplessness and vulnerability. Sánchez’s powerful renditions of natural forces rendered visible carry more than cataclysmic overtones. The flash and strident thunder embedded in Sánchez’s atmospheric layerings reverberate against the cacophonous gridded echoes in Edward’s mappings of the massive urbanity of the megapolis as a chaotic space in constant flux. Simultaneously, the dark, engulfing primal forces come face to face with the shiny complexity of Edward’s baroquely patterned mappings of the megapolis and the resulting tension ensnares and confounds. Urban, inhabited (dis)order vis à vis the inhospitableness of searing lava and howling winds.

In both cases beyond the raw vs. cooked cultural archetypes embedded in each work lies the success of a sure technical approach. To demonstrate mastery over each respective media, the orchestration of a growing complexity and an ever daring pulse remain at the basis of each artist’s proposal. There is as much room for serendipitous accident as for studied control; ease and flexibility allows for there to be a quiet balance – a neutral space – where we would think there should be none. In this sense the pairings work off each other rather nicely, remaining at all times in active counterpoint. Deep earth tones and textures, ominous at times, can exist next to a brighter palette full of lightness and whimsy in contradiction. Carefully determined patterns, purposeful scratches, layered scars, and other minute details contribute a rhythmic cadence that grounds each work onto its surface, while still managing to unsettle the viewer with their esoteric and secretive telepathy.

Anabelle Rodríguez-Lawton
Curator

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