Inside UTEP’s Fox Fine Arts Center, art students haven’t only been learning the A to Z of creating work. Thanks to local art leader Adrian Esparza and a new artist-in-residency program, students also are learning the business of being an artist.
Vincent Burke, Department of Art chair, had wanted to start a residency program for some time. “Some of my most valuable educational experiences came about through conversations I had with my professors in their studios while they were working,” he said. “I know I would not be where I am today were it not for those precious hours spent with my mentors. I wanted to create a space for this to happen at UTEP for our students.” Burke knew exactly who he wanted as the pilot of this first-ever program for UTEP: Adrian Esparza, UTEP alumnus, El Paso native and world-renowned artist.
As a prior artist-in-residence elsewhere, Esparza had experience to offer from the Border Art Residency in La Union, N.M., and Artpace in San Antonio, and knew how to juggle the public and private expectations of such a position. He also had taught a number of classes within UTEP’s art department, including Basic Design, Basic Drawing and Life Drawing.
The acclaimed creator made the residency work alongside previous commitments, including exhibits at The Houston Center for Contemporary Craft and the Pérez Art Museum Miami as part of PAMM’s AMERICANA: Formalizing Craft show.
Maintaining an open-door policy, Esparza’s duties throughout his 11-month residency (from September of 2013 through August of this year) have included the production of new work while he gives any student who drops in a firsthand look at how a professional artist schedules exhibitions, organizes time in order to meet deadlines, puts together press packets, works with curators and collectors, and crafts artist’s statements.
His guidance to students can be summed up very simply: “Be in the moment. This approach will produce work that justifies the next exhibition. Have a responsibility that establishes a reputation. Verbalize—the more you talk about your work, the better you get at producing it as well as explaining it and getting it out there. Then pull it off.”
To view a time-lapse video documenting Adrian Esparza’s work: crafthouston.org
To read the complete story pick up a copy at OM Boutique at The Mix in Downtown El Paso.
Imagine seeing a piece of paper in the middle of the road. For any passerby it’s nothing more than trash, but for Frechelle Wilson that piece of paper represents an endless supply of art just waiting to be made. An Outsider Artist with strong ties to Folk and Eco Art, Wilson examines her own African American roots, as well as the Latino influence of the Border region in her multifaceted pieces. Fresh off two art shows in April alone, her dress series Mother Earth showed at Union Gallery’s Earth Week exhibit, and her piece “Outsider” displayed as part of the Rubin Center’s 10 Squared show.
A self-professed Art Avenue junkie (she recycles our magazines in her work!) her art encompasses everything from paintings to dresses to refurbished stop signs in a merging of influences from her personal history and all the places she’s lived.
AA: Were you always interested in creating art?
Frechelle: Yes, always. I like to incorporate a lot of different elements from recycling in my work. I use earth, so no matter where I’m living I always take a bit of earth. I have earth from El Paso in my artwork. I use holy water from different churches, I have different places send me holy water because it’s a big part of what I do. I use a lot of recycled paper, cardboard, anything I can find, literally, almost anything. I’m big on that, I like to take from where I’m at and not outsource things.
To read more on Frechelle Wilson, pick up a copy of The Art Avenue at Kipps Cheesesteak in Downtown El Paso.
It is being called a groundbreaking exhibition that explores alpine and polar landscape through the timely lens of global warming.
Olaf Otto Becker (German b. 1959) “River 2, 07, Position1, Greenland Icecap, Melting Area, Altitude 931m”, 2008 Archival pigment print on Hahnemuhle Photo Courtesy of the Artist
“We are very excited about this beautiful exhibition. It was a very creative idea to have a combination of works from historical artists and contemporary artists on the effects of global warming,” said Patrick Cable, EPMA curator.
Cable said the contemporary artists worked with scientists and writers to look at the fragility of our climate. “It was interesting to see the image of “Mount McKinley and Wonder Lake” from historical artist Ansel Adams and see the contemporary take on that image from Chris Jordan who re-imaged the photograph. It wastongue-in-cheek as Jordan depicted, digitally, 24,000 logos from the GMC Yukon to create “Denali Denial,” said Cable.(Jordan was referencing the SUV as a gas-guzzling vehicle and its effects on the atmosphere.)
Alexis Rockman (American n. 1962) “Adelies”, 2008 Oil on wood Collection of Robin & Steven Arnold
Cable says the exhibit is for the entire family as each member can appreciate an image taken from a historical artist and compare it to the same image from a contemporary view taken decades later and learn a valuable lesson on global warming.
Vanishing Ice: Alpine and Polar Landscapes in Art 1775 – 2012 was organized by the Whatcom Museum. Major funding has been provided by The Paul G. Allen Family Foundation and the National Endowment for the Arts, with additional support from the Norcliffe Foundation, the Washington State Arts Commission, the City of Bellingham, and furthermore: a program of the J.M. Kaplan Fund.
Jean de Pomereu (French b. 1969) “Fissure 2 (Antartica)”, 2008 Archival inkjet print Whatcom Museum, Gift of the artist
Family day for Vanishing Ice: Alpine and Polar Landscapes in Art 1775 – 2012 is on Saturday, June 7from 11:00 am to 4:00 pm at the El Paso Museum of Art; admission is free.
For further information:Facebook.com/ElPasoMuseumofArt
Some of the most noteworthy Southwestern artists and their work can be found in El Paso, and students dashing back and forth across campus may not realize how many of these artistic gems are hidden in plain sight on the campus of The University of Texas at El Paso.
In order to provide a treasure map to some of UTEP’s key and iconic pieces, Stacy E. Schultz, Ph.D., assistant professor of art, created the “Arts on Campus” walking tour, which is offered by the Centennial Museum and Chihuahuan Desert Gardens during the month of May.
Working in conjunction with the Centennial Museum and the University Library’s C.L. Sonnichsen Special Collections Department, Schultz selected eight pieces that showcase UTEP’s role as a destination for thought-provoking artwork and artists.
Prayer Wheel
One feature on the 60- to 90-minute tour goes against the typical notion of art interaction, as people are encouraged to touch and turn the Bhutanese prayer wheel—a gift from the people of Bhutan to the University—located outside the Centennial Museum. The protective housing, built by El Paso architect and master carpenter Bruce Thacker, uses hidden oak pegs rather than nails to honor Bhutanese construction techniques.
Aside from the University’s connection to Bhutan, there is also a strong tie to the Southwest and homegrown artists. One of the earliest pieces on the campus is a decorative architectural detail—known as a lintel—above the Centennial Museum. Designed by Tom Lea in 1936, the lintel depicts Álvar Núñez Cabeza de Vaca. Lea selected this conquistador because Cabeza de Vaca’s travels took him through what is now El Paso, Texas.
Drawing on the rich history of the Southwest, José Cisneros’ sketches of nineteenth century horsemen line the fourth floor of the University Library. Based on historical records, each of the 100 drawings illustrates Cisneros’ detailed and precise cross-hatching technique.
Mercado Juarez by Hal Marcus
The library also has numerous studies and a print of “El Mercado Juarez” by local artist and gallery owner Hal Marcus. Fascinated and inspired by the colors he saw in the Juárez marketplace with his grandmother as a young child, the mural is full of brilliant tones and life-sized goods.
“I never really went to art school,” Marcus said. “All of my colors come from the fruits and vegetables. You say yellow, it’s banana. Red, it’s an apple. That was my training. So colors, to me, taste good.”
The print reproducing Juarez’s vibrancy—including boxes of Zucaritas and sliced melons—came to UTEP under unusual circumstances: a pizzeria wanted a copy and Marcus made two, later donating one to the university. The original is on display at the El Paso Children’s Hospital.
Texas Wedge by James R. MacBeth. Installed in 1986 when the library first opened.
Outside the University Library is a sculpture resembling a pipe organ by James R. MacBeth. Installed in 1986 when the library first opened, “Texas Wedge” changes color to resemble sunrise or sunset, depending on how the daylight falls over it. Like many artists with public art on UTEP’s campus, MacBeth gave his notes and papers to the Special Collections Department. Some of the papers include the materials testing and adhesives behind MacBeth’s finished work.
End of the Trail (with Electric Sunrise) by Luis Jimenez
Although the University Library’s walls are full of artwork, it is not the only building on campus to display unique pieces. In fact, nestled next to a Starbucks on the first floor of the Chemistry and Computer Science Building is a very colorful sculpture by the acclaimed Mexican-American artist and El Paso native, Luis Jimenez. His sculpture “End of the Trail (with Electric Sunrise)” is an array of colorful lightbulbs under a horse and slumped rider.
Jimenez died in 2006 after an accident in his studio, but his importance to the art world was cemented when his sculpture “Vaquero”—a Mexican cowboy riding a bucking, blue horse—became part of the Smithsonian Museum’s collection.
Even the newer buildings on campus have interesting artwork. For instance, underneath a stairwell in the Undergraduate Learning Center is a large, yet delicate piece by trained metalsmith Kim Cridler. She first came to El Paso after receiving an invitation from the art department to participate in a two-person show. Later, Cridler gifted to the university the untitled piece resembling an empty vase made of welded steel with delicate wings or petals covered in animal gut.
Mining Minds by Michael Clapper
On the roundabout near the Sun Bowl Parking Garage is an enormous pickaxe head. Michael Clapper’s towering sculpture titled “Mining Minds” represents UTEP’s past and present, and was installed in 2010. Clapper included binary code on the top and bottom of the pickaxe. The ones and zeros spell out “Believe in yourself and believe in your dreams. Believe in UTEP and its aspirations. Share the dream!” from UTEP President Diana Natalicio’s 2008 convocation speech. On special occasions, “Mining Minds” is lit with blue and orange lights.
The Centennial Museum and Chihuahuan Desert Gardens is open from 10 a.m. to 4:30 p.m., Tuesday through Saturday, and closed on university holidays. It is located at the corner of University Avenue and Wiggins Road. Parking in the Centennial Museum lot is free; however, permits can only be obtained from the Museum Offices located inside the Centennial Museum.
Tour brochures in the Centennial Museum Lobby can facilitate self-guided tours, or visitors can make arrangements for a docent-led tour. For a docent-led tour, contact Maribel Villalva at 915-747-6669 or mvillalva2@utep.edu. Admission to the Centennial Museum and “Arts on Campus” walking tour is free.
By Kimberly Rene’ Vanecek Additional Research by Melissa Castro
For an artist who never thought she could paint and retreated to decorating fingernails, Fran Santelli, a UTEP graduate, is making waves throughout the art world with her psychedelic paintings. Her work is in homes and offices in Germany, South America and throughout the U.S. She’s been the Artist on Art at The El Paso Museum of Art and is embarking on a move to Santa Fe, New Mexico to work with other budding artist.
Under the Sea
You started designing when you were a child creating your own toys?
Yes! I made my own jewelry, toys and even Barbie dolls. It was a natural progression. The first time I tried to paint I used that thick paint in the tubes. I was so unfamiliar with it. I was not good, so I forgot about it and started to paint on fingernails.
Fingernails, that’s a big transition.
It was natural to try something else and before I knew it, my designs were becoming more and more intricate. It took me a while. I got to a point where I was buying all the brushes for fingernail paint when I realized, yeah, I can probably paint.
How would you describe your style of art?
Right now I would say my work is a combination of hard edge painting with a touch of optical art, mixed with a bit of abstract expressionism. I use acrylics and spray paint.
Op art usually deals with black and white colors yet you have chosen to work with psychedelic hues.
I love bright colors! They are pure-colors that have been boiled down to their essence. It’s the same reason I lean towards geometric shapes. I also like the way they remind me of toys, giving a feeling of childhood playfulness. Also when juxtaposed their contrast is intensified. I want the work to be intensely colorful giving it a cheerful alive look, if that makes sense. So when you place opposite colors together there is an intense vibration
Half 1
There is a lot of detail to your work; it must take some time to complete a piece with so many fine points?
I get into it. There is something so meditative and I like letting it flow. It takes a while in part for technical reasons. It’s done in layers. I have to do each of the bars of color followed by a drying process in the layers. First I do the bars of color, after that the shapes. Sometimes it’s surprisingly fast. I would have to guesstimate probably a month.
Can you focus on one piece at a time?
No. I usually work on three paintings at a time. Part of the reason is because there are layers drying on one painting and I don’t want to be there twiddling my fingers.
Being comfortable with your art can be a journey. How long has it taken you, or are your secure in your style?
I probably wasn’t until 2008. School really helped me. I had an art professor named Jim Quinnan who was so awesome. I have a tendency to have Obsessive-Compulsive Behavior with my art. I will be very tight and controlled with it, which I love, and he helped me pull something out of that OCD. I was very visceral and I would let the paint drip; that has become part of my signature. It’s something organic, uncontrolled, spontaneous and loose but mixed with something more controlled.
You are scheduled to leave for Santa Fe, New Mexico soon?
Yes, I want to try the art scene up there and create some prospects for myself. I want to see if I can collaborate with other artists. I traveled there recently and now have a new favorite artist, Oli Sihvonen
Full of Catholic iconography and elements of youth culture, Gaspar Enríquez’ portraits explore the bicultural, Chicano experience, “My subjects range in age, but most of them are students that I taught during my years at Bowie High School. They are people dealing with real issues that I built relationships with over the years and I wanted to portray the seriousness yet real way they dealt with their lives.”
Ojos de Miel, 1995 Airbrushed acrylic on paper Pintado con aerógrafo, acrílico sobre papel Cheech Marin Collection
Currently on display at The El Paso Museum of Art, Christian Gerstheimer, curator has successfully created an exhibition for one of the best-known Chicano artists in the region. Gaspar Enriquez: Metaphors of El Barrio features over 50 of the El Paso native’s paintings, prints and sculptures. “I’ve known of Enríquez’ work since 2003 and have been advocating for a retrospective for several years,” said Gerstheimer.
“I couldn’t believe that they would ask me to do a retrospective,” said Enriquez. “The fact that Michael Tormei and Christian Gerstheimer initiated this came as a complete surprise to me. It is a very humbling experience for me. One I would also like to thank the CommUNITY enACCION for supporting.”
Curating the exhibition was fairly easy for Gerstheimer because he said Enriquez was a very organized artist who provided him a list of collectors who owned his work. One of the most notable collectors of Enriquez’ work is actor Cheech Marin. “Cheech first noticed my work in a friend’s home in San Antonio and since has collected four of my paintings. I am surprised that so many collectors loaned their pieces. Art is a part of your family and to share in this exhibition means a lot to me,” said Enríquez.
This sentiment certainly rings true when it comes to the artist’s own opinion of his work. Enriquez said it’s impossible to favor one piece of art over another. “It’s like asking a parent which child is your favorite child, you just can’t do it,” said Enríquez.
Proscrita, 1989 Airbrushed acrylic on board Pintado con aerógrafo, acrílico sobre panel Collection of the Hunt Companies
Enríquez’s collection (presented by CommUNITY en Accion) entitled Metaphors of El Barrio can be seen at The El Paso Museum of Art in the Woody and Gayle Hunt Family Gallery January 26 – May 11.
Reporting by Sebastian Immanuel Vargas Additional writing by Elena Marinaccio
There’s an underlying tension to Tino Ortega’s work. It stems from the complexity inherent in much of what he does, as he strives to reconcile underlying dualities in a layered mix of old and new, graffiti and gallery, work and family.
Beto by Tino Ortega
He’s collaborated with fellow El Pasoan Peter Svarzbein and Congressman Beto O’Rourke is a fan of his paintings (check out our cover art for the February issue). But Ortega says he avoids political sentiment in his own work, finding inspiration instead in his budding home life. For this self-taught artist who strives to unify street art and fine art, family comes first.
SIV: I understand you’re about to be a father. How much of your personal life influences the work you produce?
Ortega: A lot of it influences the work I do. When I get an idea, I sketch it out and sometimes have multiple renditions of them before I make it into a sketch. I paint because I want to. Going to be a father makes me excited and makes me want to work; it puts me in the mood to paint. I try to focus a lot of time with my family and my work so it’s inevitable that they’d intertwine.
Mural on Texas Ave. Image by Congressman Beto O’Rourke
SIV: I viewed the mural on Texas Ave., which Congressman Beto O’Rourke posted an image of onto his Facebook profile. How did that particular piece come about? Were you commissioned to do the piece or do you purchase the use of the space?
Ortega: The mural on Texas was done for a friend’s family who owned the space. It was my first mural I did on my own—I had done a number of other collaborative pieces with other artists—and I did the piece for free. I was glad that Beto O’Rourke was able to show it off in a way. With a piece like that, I try to find an image that’ll fit it appropriately. It took me just over a week to find the right image to fit that wall and I guess it fit it perfectly.
SIV: You’re showing a new painting at the New York City vanity gallery Broadway Gallery NYC. How did that process come about, how were you approached?
Ortega: I actually submitted my stuff a couple years ago. It was one of those things where you do it and forget about it. A couple months ago I got contacted by one of their curators and they asked me a number of questions about my art. I honestly thought it was a joke because it had been so long since I had submitted my stuff. The more they kept talking about it, the more I realized how serious they were.
I remember in a pre-Facebook time where you’d actually have to go door to door and knock on galleries to see if they’d showcase your work. Being online really makes things a lot easier for getting your name out there. I don’t have a website but when people post on their Facebook and tag me in the image, I’m glad that people can appreciate the work that I do.
Ana by Tino Ortega
SIV: Your work combines elements of both street art and fine art. What brought about your interest in unifying the two?
Ortega: It came about in seeing street art in galleries and fine art out in the streets, which was a bit unnerving. The style that I’ve been known for is derivative of both so I decided to create a hybrid of the two.
SIV: How did that translate in your Texas Ave. mural?
Ortega: I was just trying to be different. I didn’t go to art school because I was afraid that it would teach me how to paint what other people want. I wanted to paint what I wanted. I was approached later by many people that said my art incorporates many different styles that other artist’s use.
SIV: Do you feel as though your work adds to the political commentary or is it “art for art’s sake”?
Ortega: My work is more “art for art’s sake.” I like the idea that the viewers can be a part of the art. Colors aren’t as mixed on the pallet as they are in the eye. You can say that it’s a series of smaller painting that make up a large image.
SIV: What sort of medium do you gravitate toward?
Ortega: Honestly, I’ll do pretty much anything I can get my hands one. I bought a tattoo kit and drew this rose on my thigh and tattooed it out. I try to do a little bit of everything. One of the things I’ve been wanting to do is go back to oils. It was one of the things that I first learned to paint but right now I’ve been mostly working with acrylics.
SIV: Do you prefer the large-scale pieces like the mural, or smaller ones?
Ortega: I don’t have a preference. I guess if I were to have one it would be one that would be most accessible to the most viewers. One of the things that I don’t like about murals is that they are stationary, it can’t move from that one place. On the other hand, it can empower that one place and it can be known for bringing life to the area.
SIV: You mentioned that you had done collaborative works with other artists?
Ortega: I worked with Peter Svarzbein who was working with the Trolley Projects. We did a couple projects that were temporary pieces that got knocked down. I also helped him out with the “Temple to the Future Project” and contributed some stuff to a plywood project where we were trying to cover the chain link fences downtown with art installations.
SIV: Any new art in the works?
Ortega: For now, I’m going to take some time off for me…I’m working on a piece for my girl right now…but it has to be big. She’s my inspiration. I only want to do it on a very large scale. So I’m just working on it in my head right now.
This past year has been very chaotic with regards to painting and I don’t have any type of plans but who knows what the future may hold. I don’t know where it’ll take me but I’m sure it’ll open doors.
What began as a small group of artist with a desire to learn and perfect their paintings skills, has grown into an annual art show that will feature 14 artists and present over 100 of their original paintings.
Artist Virginia Howell, a member of The Alazan Artist of El Paso says the group has been together since 2007 as a result of a workshop with art instructor Nina Walker. “We are a very cohesive groups that paints Impressionist pieces. Since we have worked together for so many years, I feel we have continually improved,” said Howell.
The Alazan Artist of El Paso will exhibit their 5th Annual Desert Lights Art Show & Sale this Sunday, December 8th at 150 Sunset. Howell said the event is free and there will feature artwork from local artists along with a silent auction with drinks and hor d’oeuvers from 3:00 – 7:00 pm
Howell says that one of the biggest thrills of the event is when you sell a piece. “When I sell to someone I don’t know-I think that’s a wonderful thing to happen. There is not a sense of obligation. They bought my art because they really liked it, not because they know me,” said Howell.
For further information on The Alazan Artists of El Paso please call (915) 755-7554 or Virginia Howell at Pike Street Market at (915)545-1010.
Librarians are known to surround themselves with books, but a local bibliophile has found another driving passion as well.
Juan Sandoval, reference librarian and subject specialist for art and Chicano studies at UTEP, has amassed an eclectic art collection from around the world, featuring works by such noted artists as Manuel Acosta, Marta Arat, Francisco Delgado, Gaspar Enriquez, and Luis Jiménez. A small selection of these works is on display at the El Paso Museum of Art in the free exhibition An Expansive Regard: Selected Works from the Collection of Juan Sandoval, running through February 16, 2014.
“Juan Sandoval is an active patron of the museum and visitor to the museum and an El Paso fixture,” said Patrick Cable, senior curator at the El Paso Museum of Art. “He has, over the last several decades, collected probably a couple thousand different works–paintings, sculptures, prints and some ceramics too. He has a really interesting range of works in his collection, so we thought it would be interesting to highlight a selection of those works.”
The exhibition features 25 pieces that represent the unifying theme of the collection, Cable said.
“[The exhibition] sort of does speak to his personality, and his collection does as well,” he said. “Also the idea of the human element in his work is there. It’s not necessarily the heroic figure, but the ordinary figure, which has a unique quality about them within the picture. I think that’s part of what [Sandoval] is about.”
Maggie: When looking for art to add to your collection, do you gravitate toward certain themes or styles?
Juan: My art collection is extremely diverse and is a reflection of my eclectic reading habits. I didn’t start out to become an art collector. Since I always had to work, I could afford to purchase books. Since so many of my friends were impecunious, in an effort to assist them, I purchased their art for very little. Once I realized that you didn’t have to be rich to buy original works of art, there was no stopping. Rather than buy fancy clothing and cars, I continued to buy art and as the years passed, my collecting became a little more sophisticated. I never bought art as an investment, and was surprised when my dear friend Mart Arat told me that she felt that by being represented in his collection, her memory and work as an artist would be preserved for future generations.
Animal Instinct: The Big Name Local Artist You Don’t Know
“I don’t believe in starvation,” said El Pasoan Julio Sanchez de Alba. “I decided that if I’m an artist, I’m gonna be the best artist I can be, and a successful one.” And just like that, an artist was born. Sanchez’ massive wildlife sculptures have only recently garnered attention in the city he calls home, although he’s shown in galleries from New York to Dubai for years.
In 2008 the City of El Paso commissioned him to sculpt a monument honoring the men of Company E, a group of Hispanic soldiers, most of whom were killed, during WWII while attempting to cross the Rapido River in Italy. Many of the soldiers came from El Paso’s Segundo Barrio and Bowie High School. Sanchez’s commemorative piece can be found at the Chalio Acosta Recreation Center in Delta Park.
Along with private collectors who buy his life-like sculptures, El Pasoans can also view Sanchez’ work (the blue herons, ants and other insect sculptures) at the Sunland Park Mall.
Originally from Bolivia, Sanchez spent some time on the east coast before finally settling in El Paso nearly 30 years ago. After toiling for over two decades in the garment industry as a mechanical engineer, Sanchez’ curiosity about art—specifically, the sculptures he saw while visiting galleries in South America—got the better of him. “My first sculpture was kind of crude because I used hanger wires, aluminum foil, a little bit of plaster, a little bit of Sculpey, because I didn’t really know what to use,” said Sanchez. “And once I saw the result, then I started to investigate and I wanted to learn how those sculptures were made.”
“It was life changing. I didn’t really know what I was getting myself into because I didn’t know anything about art,” said Sanchez. “I just had this burning desire to sculpt and discovered that I liked it so much.”
While art changed his life, it did not take away from his business mindset. Knowing that his work must be impeccable in order to bring in a steady if not ample income, he worked hard to learn every aspect of sculpting and do everything himself from start to finish. His goal was not only to make work that he was proud of, but work that would also sell.
“No matter how much you love art, if you want to be successful and you want to live well, you really have to make your business work, no matter what you do.”
He first gallery show was in New York City and he sold several sculptures within the first two weeks. Featuring sculptures of giraffes, leopards and elephants, his work began to sell all over the U.S. At one time Sanchez was on display in 12 galleries across the country, but after 9/11 things changed. He pulled his works from galleries, especially New York due to the economy. He now prefers to tour in major cities with his work in galleries in Dubai, Abu Dhabi, Bahrain and Beijing. Many of his clients still come from New York, Colorado, Las Vegas and Chicago.
When asked why he still resides in El Paso after reaching success, Sanchez said the mountains and people remind him of his home.
“In Bolivia, we have a lot of influence from Mexico, so it was very easy to blend here,” said Sanchez. “We speak the same language here, we laugh at the same jokes, and that made it easy because in New York, none of my Spanish jokes were funny because I had to translate them to English and they didn’t work.”
Sanchez said he also enjoys meeting local aspiring artists and wishes to share his experiences with them in the hopes that they will continue pursuing their dreams. His career in sculpting didn’t begin until he was 46 years old, proving that one can learn and master a new skill at just about any age with the right attitude.
Sanchez is creating a new collection which still resembles nature but in the natural human form. Sanchez says he is having fun with his new sculptures and defining a new subject. “I feel blessed that I am able to explore beyond the animals and try something different. I am glad that I have tried a new subject matter,” stated Sanchez.
“I think that everything is possible as long as you believe in yourself and work hard,” said Sanchez. “People tell me how lucky I am and I promptly correct them and tell them, ‘It’s not about luck. Luck plays a very small part. It’s about determination, focus and never giving up.’”
