Just added a new gallery, comprising the period between fall 2014 and early this year HERE.
To be honest, I hadn’t really envisioned those years as a self encompassing body of work. Because of the nature of group shows, it’s niggled me that since producing Purgatorium , I’d been unable to invest my vision in quite the same way-that the work had felt somehow scattershot or constantly compromised and manicured to fit within the restrictions of an exhibitions chosen theme.
It only occurred to me very recently however, that looking at most of the paintings produced during my time at La Bodega gallery, seemed in retrospect as consistently composed as any of my former series.
This may have something to do with the environment I worked in. In fact I know it was, driving every day as I did beneath the Coronado bridge, emblazoning huge colorful murals, both in scale and historical reverence. One cannot be affected by the social injustice and cause of the Chicano community, especially when they embrace you as one of their own so readily. Lest we forget that this happened within the context of the soon to be leader of the free world, casting the entire population as rapists, drug dealers and murderers, or the doomsaying editorials within the self appointed SD ‘art media’, constantly warning of white gentrification.
My own conceit had me promulgate the piece La Noche Triste, with its towering Coyolxauhqu over the murderous Hernan Cortez, as fitting tribute for a proposed mural, before the council and trustees of Chicano park.
Naturally, I was turned down.
Oh, how my own Anglo Irish truculence shrivels now in light of my audacity.
Its within that framework then, that I now recognize that my world view had widened, gazing further as I was than the fluff in my naval. And that along with a stance that was more socially conscious, was an approach that contrived to marry my love of Otto Dix,Van Der Weyden and the brilliant primary colors of the Chicano murals themselves, and set them within alt historic and esoteric allusion. As close a relative as I will ever get to being Pop surreal, it was enough to finally gather the attentions of one of its former champions, Greg Escalante. (See Post Here)
And though I shall always be grateful for my time there, the two hour commute to the studio no longer being feasible or a welcome prospect, the work represents an evolution in my art that stands alone, but stands in solidarity with the spirit of those years.