The Margulies Collection response

"Collapsed structures" 

Performance Art Documentation

Click on the link to watch the video. 

https://vimeo.com/144450039

De La Cruz Collection Visit

PAMM: Firelei Báez "Bloodlines"

Can I Pass? Introducing the Paper Bag to the Fan Test for the Month of June,
2001, Gouache, ink, and graphite on panel.

Sans-Souci (This treshold between a dematerialized and historicized body,
2015, Acrylic and ink on linen.

Ciguapa Pantera (to all the goods and pleasures of this world), 2015, Acrylic and ink on paper.

Man Without a Country (aka anthropophagist wading in the Artibonite River), 

Those who would douse it, 2015, Acrylic and ink on panel.

The Last One Who Remembers It, 2015, Acrylic and ink on panel. 

WARPbook: Ellen Gallagher, Paul Rand, and Romare Bearden.

Ellen Gallaguer

Paul Rand

Romare Bearden

Visual Analysis: A Public Character- Shannon Ebner

Valeria Guillén

A Public Character

Shannon Ebner

ICA: Institute of Contemporary Art, Miami, FL.

Shannon Ebner’s “A Public Character”s exhibition at the Institute of Contemporary Art in Miami imposes oversized “A” letters displayed onto different scales, techniques, mediums, time lapses and space.

Even if the letter “A” implies such an important sound for the Roman alphabet and our daily verbal communication, the exhibition, in general, is muted and invites the mind or the imagination of the viewer to explore the sound level of the visual experience presented. For the first room “Black Box Collision A” the presentation of outsize scaled photographs creates this ambiance of overwhelmed surrealism, rendering the images of the letter “A” “both part of the world and apart from it”. The size, volume, style varies from one picture to another but unifies the whole show through the use of monochromatic, grisaille palette which, because of their visual weight, creates this sense of construction, urban and/or industrial feeling.

Now, the experience of reading the exhibition becomes monotone and predictable as a result of the documentarian, archival, or catalogue approach of the piece creating this anti-narrative collection of photograph, sculptures and video. The accumulation or the visual element of repetition breaks finally with a digital video of 13 minutes titled “A Public Character” which time-lapses different “A” letters into various urban scenarios and even just the letter “A” in primary colors introducing words that you can hardly capture a few times just because of the speed and rhythm of the video during the last minutes that concludes the piece.

In a way, the letter “A” becomes public, available and reachable for every individual. It’s something we are able to recognize topographically. In an everyday sense its part of our verbal, graphic and audible quotidian trace. However, in what point this popular letter and sound intersects with what Art is? Is this poetry? Letters can become individually different even if we are just imitating the visual characteristics of the same one? At the end I believe that the visual experience that Shannon Ebner is offering to the viewer is social and at the same time very individualistic where the study of the letter A is applied into different recognizable contexts but at the same time our visual approach detaches this to a more personal level. The rapidly change of the environment or the landscape will always try to transform what we define as something to another thing by changing or influencing the perception of the self.

Part of my warpbook documentation

Pablo Picasso

Louise Bourgeois

Donald Judd

Sol Lewitt

Eugène Atget

Eugène Atget

Gabriel Orozco

Marcel Duchamp

Documentation of my 3-D pieces for the Warpbook.

Claes Oldenburg

Alexander Calder

Louise Nevelson

Eva Hesse

Eva Hesse

Rodchenko

Rodchenko

Rodchenko

Schwitters

Cornell

Cornell

Line Project

Wood Project

Cardboar Project

Fall Faculty Exhibition at Broward College Central Campus.

Niko Yulis 
Arcus Augmented Report
Mixed Media 

Teresa Diehl
Repita
Installation

I had the opportunity to be today at the Broward College Central Campus Faculty Exhibition where I had the pleasure to see most of my A.A. teacher's work. Niko Yulis, the ceramics, showed a total of 6 mixed media paintings on panel and Teresa Diehl, the photography teacher, put together a dynamic installation called "Repita" (Repeat in English).

I admire a lot Niko's work because it's all about layers and meticulous delicate precise manual elaboration. The color combination and the composition based on non-representational forms are balanced through the scale and shape of the panel: a square. The level of experimentation and the use of new materials creates new ways of perception and asks for my attention. Somehow I can see how the use of glazes on ceramic pieces have influenced the way he uses paint and colors.

Now, Teresa Diehl's piece made me feel speechless. A cyclical moving desk, lamp, books, boards, projections and cut out words composed the overall of the piece. The relation between the word "Repeat" and the piece recalls how education uses dictation and repetition for the purpose to memorize something that students might not even understand. Delicate cut outs of different words from the dictionary laid down on the floor as if they were forgotten or useless. The boards, which were found objects with actual random words that students had written before, were organized as if it was inside of a classroom. All this installation was complemented with a kid's song that would loop every minute with a black and white video of soldiers. The atmosphere created by Teresa started as a naif or innocent classroom that as the chair is moving and the music is playing becomes this absurd repetitive cycle of imagery based on human abuse of power asking ourselves: are we really learning?