I did not intend these poems to be self-referential or have any specific reference to my works. I feel these fragments of his poems find their own space between each painting in the collection. Along with these paintings, I have added excerpts from poems done by my father who was a physician and a poet in South America.
#Cw13 houston series
In the show a series of paintings depicting abstract backs of women, mysterious, with hidden heads and emphasis on their spines. Showed some of my introspective analysis of the world at war, and its opposite, an esoteric world at peace. November 2003 Solo exhibit, new paintings, under the title Building upon this tradition, I aim to create images that while connected to those �primitive� forms, are nonetheless very contemporary not only in their look, but also because they bring forth the mood and emotional tone of our complex contemporary world.
that I take pains to create on my surfaces belong to a well known Latin American pictorial vocabulary that has roots in ancient Paleolithic forms. Naturally, as a woman native of South America, the forms, colors, textures, etc. More specifically, it is the form, or rather, the multiple forms, of the human body that I depict. It is her anatomy, her biological capabilities and frailties, her distinctive pains and pleasures, her sexuality and aging, her chronic status, her tears, her peculiar psychological turns and her existential status that I attempt to capture in my paintings. But it is woman, as earth and goddess that is the focus of my work. Most of my images, but not all, are of women � although many male figures, and an abundance of animals, inhabit my pictures as well. Thus, these old protagonists acquire new meaning by bringing forth, I hope, the mood and emotional tone of our contemporary world, while at the same time they re- collect to whatever extent possible their ancestral meaning. Needless to say, my intentions are to connect with our primitive and archetypical ancestry by re- articulating within our contemporary context those prehistoric images, their human bodies and their animals. These are animals of our Paleolithic past. The works of the present exhibition are the works done with the intention of exploring the physicality of animals, in particular as it relates to the bodies of a specific group of animals the bison, the bull, the horse etc. The juxtaposition between the representations of the animals and plants in compromised an ailing conditions and the female form that seems to swallow and revive the life- infused aspects of her creation, render a sense of hope for a future in which the maternal provides a healing force to an ailing planet. These works serve to remind us about these issues and others that we continue to face the world while reinventing the female figure as an emblem for current conditions and a new Totem for the future. Our recent history however has seen a trend towards a natural reversion to a feminine bias, with women becoming increasingly more crucial to all aspects of society. Nature has been qualified as a female organic form by most ancient cultures, but for the last millennia or so, the world has been primarily perceived and shaped by the masculine side of the species. In our database, making this MADIS identifier lookup no longer necessary.Subject matter in painting is merely the trigger that allows the expression of something more profound, unconscious and possibly hidden even from oneself, and therefore all inclusive, so viscerally immanent to humankind R. Station identifier, and are trying to find the corresponding stationĪs of the 2014-2015 snow year, CoCoRaHS identifiers are stored natively This lookup table is for people who know a CoCoRaHS
#Cw13 houston archive
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