The Art Avenue
The Art Avenue
Teacher_knows

Featured

Teacher Knows Best

Alexandra Elise Jones & Kimberly Rene' Vanecek

June 21, 2016

Gunshots reverberated throughout the Rubin Center sending some visitors searching for the exits while others were seemingly drawn to the chaos. “The Sword in the Stone,” an interactive installation designed by artist and professor Angel Cabrales was the reason for all of the commotion that took place at the University of Texas at El Paso’s 2016 Biennial Faculty Art Exhibition.

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Cabrales, one of 26 faculty members that showcased artwork in the exhibit held March 16-April 23, created a massive black stone made of concrete and steel and was installed in the middle of the gallery with a gun built into the center of the piece. The gun was a confiscated weapon donated by the El Paso Sheriff’s department that had been destroyed and reassembled to reference a real gun for this exhibit. While one attempted to pull out the gun from its encasement—engraved with the phrase “If you be worthy to have me by your side you can be the greatest knight”— the trigger would engage, simulating the blast of a gunshot.

“The hero complex combined with the story of becoming the greatest knight from King Arthur felt like a perfect blend. Asking the viewer to attempt to be the hero when in reality they are making themselves a target, not only by the shooter, but by the officers responding, as they would not know who the ‘good guy’ is. Every knight ‘worthy’ in my piece ultimately is met by a gunshot before they can fully draw the weapon,” said Cabrales.

“The Sword and the Stone” by Angel Cabreras, mixed media, 2016
“The Sword and the Stone” by Angel Cabreras,
mixed media, 2016

This year’s show focused on examining the creative life of working artists. The exhibit premiered on March 16 and exhibited for a month, showcasing ceramics, metals, sculpture, painting, printmaking, drawing and graphic design.

Touching artwork is usually taboo, yet this year’s exhibit presented various pieces that called for audience participation. Davinia Miraval’s “Do Not Say A Word” called upon the viewer to actually eat the art. The piece included a curtain blocking the audience from a portion of the artwork and once inside the enclosed area, the guest was to pick a body part, an edible cutout made from rice paper, and on that paper was your secret.  Once you choose that paper that closely spelled out your secret, you were to eat the paper [the secret.]

UTEP art student Sarah Aguilar felt the theme of the event echoed a cohesive relationship between professor and student. “It puts perspective into what they’re working on and what they expect from us so far, and seeing my own professor’s art really lets me see what they would want to see from us,” said Aguilar.

Kerry Doyle, director of the Rubin Center, hopes the show creates a deeper relationship between students and professors, while allowing an opportunity for professors to showcase their talent. “We do have a pretty big audience at the Rubin Center both on campus and off…so it’s great for faculty members to have an opportunity to show here and have their work exposed to a larger audience. It provides great showcase for their work,” said Doyle.

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“Professors receive good feedback and are able to make connections within the community,” says Doyle. “We are having the faculty speak very casually about their creative life and again it provides a format that students wouldn’t otherwise come across in the classroom. They can talk about how hard it was for them to get their first exhibits, how they balance their work and artistic life.”

Aguilar echoes that thought, “I hope to gain knowledge from seeing someone that teaches me put out their artistic capabilities. Today we had a talk about that, exhibiting and putting your work out there. There really isn’t a class that I have taken that talks about that.” While art students are looking to gain insight into their professors’ artistic intuitions, the exhibit provides a contemporary art experience for non-students, who were encouraged to attend panel discussion with the artists.

“Being a university museum we are always thinking of every exhibition not as an end, but as a centerpiece for larger conversations. We care very much about the artwork we put up, but that’s not the end of it. It provides other kinds of relationship building and learning,” states Doyle.

journey_coronado

Past Exhibitions, SocialCoronado High School, The Art Avenue Gallery

It’s All About the Journey

The Art Avenue

June 2, 2016

On Wednesday April 6th, The Art Avenue Gallery hosted the works Coronado High School senior art students. In celebration of their work The Art Avenue Gallery, located on 1618 Texas Avenue Suite E., featured All About the Journey, an exhibition curated by the students in collaboration with The Art Avenue Gallery. Attendees had the opportunity to experience the student’s work through their high school years.

Click on the image below to see the photos of this wonderful evening.

Make sure you also visit our Facebook page for the latest events.

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artic_trials

Featured, Photographyartic trials, Florencia Mazza Ramsay

Arctic Trials

Kimberly Rene' Vanecek

June 1, 2016

In stark black and white documentary photos, international photographer Florencia Mazza Ramsay journeys 3,300 miles from El Paso, TX, capturing images of vast changes, both in the arctic climate and culture.

“Jade” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
“Jade” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

Of Argentinian decent, Ramsay spent several years jaunting from one private island to another capturing the latest fashion and automotive trends—but nine months ago, she traded in Prada and Porsche for Barrow, AK. The trip took her from the warmth of the desert Southwest and found her at one of the oldest permanent settlements dating back to AD 500 in the frigid Arctic. She spent three months following The University of Texas at El Paso graduate students, professors and international scientists and she hopes to share their experiences with the world.

Northernmost: Fragments Of An Arctic Field Season was the premiere exhibition at The Art Avenue Gallery for Ramsay since returning from Alaska last summer.  Ramsay’s past portfolios include work for Ralph Lauren, Porsche and JUXTAPOZ. After some time analyzing life and its voices, Ramsay delved into documentaries that express an expansive collection of life, its challenges and changes. Her black and white digital images captured personal experiences with the residents of this deeply isolated area in the Arctic and provide an artist’s journey into the climate changes they endure.

“I want a photo on my own” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
“I want a photo on my own” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

“I had to leave everything in El Paso to go to the middle of nowhere. It’s the complete opposite of what life is in El Paso—there is a lot of sacrifice to gain this knowledge. My main purpose was to document scientific effort and the way of life of the local culture and how they react with a very threatened environment,” said Ramsay.

Barrow sits at the base of a peninsula that juts into the Beaufort Sea with a population of 4,373. It’s a natural hunting place and its residents are torn between following heritage of living off their land and water, with food sources like caribou, fish, whale, seal, polar bear and walrus, or using the one local grocery store to sustain.

Ramsay says the elders are tough, and taught her a great deal about the Alaskan culture.  “As a stranger, I was very cautious of not being too intrusive. I always try to be careful with my approach since I don’t want anyone to feel observed as a rarity,” said Ramsay.

“Isaac” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
“Isaac” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

She says their heritage is clashing with their morals and internal decisions of life’s choices and the elders are concerned the younger generation is losing touch with its heritage.

“Kids don’t want to hunt, they want to eat junk food, drink sodas and go to the grocery store where the cost of goods are outrageous. Since Barrow is in such a remote area, dry goods and other staples are flown in by cargo for the grocery store, ranging from $2 a lemon and $11 for a gallon of milk,” said Ramsay.  The locals receive a bi-annually tanker that arrives off the coast and delivers goods during the summer annual sealift because the tankers can’t maneuver the Arctic Ocean through the treacherous weather that the other months bring.

“Nalukataq” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
“Nalukataq” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

While the culture is challenged for sustainability many Alaskans honor a celebration Nalukataq—the spring whaling festival of the Inupiat Eskimos. This celebration is famously connected with a blanket toss and normally held throughout June. The festivities include not only giving thanks for a successful whaling season but the frozen whale meat, whale blubber and skin are evenly shared amongst the residents. The majority of those in attendance don themselves in traditional tribal wear. “Members of local whaling crew begin distributing Muktuk (whale blubber and skin) to families waiting with open and empty bags. The whaling crews make sure all the families who attend leave with a fair share of the catch,” said Ramsay.  “It was impressive to experience how proudly they carry their ancestry and the care for the community as whole.”

Barrow is situated 320 miles north of the Arctic Circle and categorized as a polar climate with 160 documented days as below freezing during October through mid-May. The summer months are the warmest with the average high reaching 47 degrees. “We always had layers on because you never knew just how cold you would be or how warm it would get,” said Ramsay.

76.5 miles” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
76.5 miles” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

Shadowing the scientists Ramsay said she gained a new perspective and respect for their field.  “You’re in the middle of nowhere and it forges relationships. The scientific community is so hopeful and I learned that being a scientist is not wearing a white coat in the lab and being a nerd—there is a lot of physical work that accompanied their research,” noted Ramsay.

A daily schedule could include a 10-18 mile hike along the coastlines of Beaufort and Chukchi to measure the erosion. UTEP research professor Stephen Escarzaga and husband of Ramsay, went on the expedition and explains some of the research on the tundra.  “We have determined that lakes and ponds in the Alaskan tundra are disappearing. It’s vital to understand where this water is draining because the heat and nutrients it takes with it can upset the energy balance in other areas. 

“The moon/shore-fast ice” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
“The moon/shore-fast ice” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

Escarzaga said they would take boats into the ocean to measure atmospheric CO2 cycles.  “There is currently more carbon stored [in] Arctic permafrost (tundra) than exists in the atmosphere.   It took this carbon thousands of years to sequester there. As the climate warms disproportionately in the Arctic, the active layer (the upper layer of permafrost that freezes and thaws each year) thaws earlier and deeper in the summer. This allows microbes to decay the ancient carbon (old plant matter). Think of a freezer full of food that suddenly stops working.   This has the potential of accelerating climate change by releasing more carbon into the atmosphere, then in return quickening the rate of carbon release from permafrost,” said Escarzaga.

He said Bathymetry is used to measure the underwater depth and helps researchers model the severity of storm surges and the corresponding effects. “With rising oceans and frequent storms in the Chukchi Sea that effect the town of Barrow, a lot of research is being conducted to understanding how coastal regions are responding to flooding and coastal erosion,” stated Escarzaga.

“Ukpik!” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016
“Ukpik!” Giclée print, Moab Juniper Baryta paper, 12” x 18”, 2016

Since the tundra is also home to the wild, each participant had to prepare before the trip. “We were required to take a gun training class in El Paso before we left—just in case we ran into bears.”

Ramsay already has another trip to the Arctic planned for this summer, where she will continue her documentary photo series.

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PhotographyFederico Villalba, Lincoln Park

Federico Villalba

The Art Avenue

June 1, 2016

As an art photographer favoring street photography, it is not my intention to photograph an image that does not genuinely exist, nor alter it into an illusion that it is not. My photography tends to focus on documenting the reality—dimples and blemishes—that make life along “la frontera” of the United States and Mexico so colorful and unique.

Villalba has participated in exhibitions in the Southwest U.S., and Northern and Central Mexico, and currently at the El Paso Museum of Art in the Desert Triangle Print Carpeta Exhibition now through May 22.   

outoftheblue

Architecture, FeaturedDowntown, Hotel Indigo

Out of the Blue

Elena Marinaccio

May 25, 2016

Full of locally sourced materials, custom-made regional art, and a thoughtfully honed interactive design, El Paso’s first boutique hotel, which opened earlier this year, has angled itself as a go-to destination for out-of-towners and locals, alike.

“We really tried to pay homage to the historical roots of not only the 1960s and that era and how it’s influenced the mid-century modern building, but the hotel itself—the history of the hotel,” said Priya Nair, one half of the husband and wife team that owns the new Hotel Indigo downtown. With clean lines, floor-to-ceiling windows and contemporary furnishings, the building at 325 N. Kansas St., last operated as the Artisan Hotel as of 2010, underwent a nearly three-year, multi-million dollar gut renovation.

DAV_5824Priya oversees the design and purchasing for all of their hotels (the family’s firm, Esperanto Developments, owns 17 properties in Texas), and for this project she worked alongside the firm’s in-house designer Charles Austin as well as the Chicago-based Curioso design firm, whose avant-garde designs have been making waves recently in El Paso.

Now, you can’t talk about Hotel Indigo without talking about what’s happening up on five. “The fifth floor, it comes alive,” said Madhi Nair, “the views of Juarez, the pool, the indoor/outdoor components, the local art. It’s really magical.” Eschewing a traditional floor plan, the design team put registration up on the fifth floor’s expansive lobby in an open layout that includes the Circa 1963 bar as well as pool and the outdoor Sombrilla Lounge.

“We spent a very long time with layouts and this vision to put check-in on the fifth floor and have our entire experience up on five,” said Priya, “which was not how it was when we purchased the property.”

DAV_5652 copyThe design seeks to blur the lines between indoor/outdoor, capitalizing on the 300-plus cloud-free days a year the Sun City is known for. In the warmer weather, the indoor bar opens up completely to the outdoors, effectively erasing the borders throughout the floor, and offering panoramic views of the city. Facing the Circa 1963 bar, patrons have views of historic Mesa and Stanton Streets, while the outdoor lounge faces south toward Juarez. The massive floor-to-ceiling windows allow for nightly sunset views.

“The east side, that’s were you have the beautiful views to the railroad tracks, then the western facing rooms you get to see the beautiful El Paso sunsets, which are pretty remarkable,” said Priya. “And then the Juarez city lights just kind of magically turn on after the sun sets and take a stronghold in the horizon.”

Hotel Indigo, owned by IHG, is known for its design-forward boutique hotels that strive to incorporate local culture into their motifs. Priya says the design team spent a great deal of time perfecting the hotel’s design story, which they called Fabric of the Past. “When you go to many Hotel Indigos their approach is maybe more topical. We tried to make it a more layered, deeper take on what creates a neighborhood.”

room3Themes of contrast (think, What We Talk About When We Talk About the Borderland) informed the decision to mix raw and refined materials. “We have local reclaimed boxcar planks that were 50 years old that we were able to salvage and use to clad our columns,” said Priya. In fact, almost all of the work in the hotel, from upholstery to carpentry was sourced locally, with many products (both new and vintage) sourced within a ten-mile radius of the building.

“It really was painstaking,” said Priya, “because with the majority of hotels it’s just canned goods. They’ve taken all the sourcing, all the design out of the equation because they do that on a corporate level. A lot of the products come out of China.” Much of the work throughout the hotel, and everything in the 119 guest rooms was custom made, said Priya, from the lighting to the carpet, “All of that is custom for our hotel. You will not find it in any other hotel worldwide.”

Local, custom-made artwork weaves its way throughout the 12-story hotel, from photography and wall murals to mixed-media sculptures. The public areas of Hotel Indigo are flush with artwork, starting with the tile mosaic mural at the Kansas St. entrance. The piece took off conceptually with a native textile fabric as inspiration, the custom-made concrete tiles created by the Lunada Bay tile company out of California.

gym2Up on the fifth floor, there’s the “Made in Circa 1963” wall mural, created by El Paso artist Zeque Peña, featuring a muted desert-toned geometric background juxtaposed against a photorealistic woman in profile, highlighted by vivid red flowers in her hair. Out on the pool deck are three hand-formed concrete sculptures by Austin-based artist Paul Oblesby, and facing the reception area is a metal-and-fabric installation from sculptor Sarah West. “It’s an aerial overlay of the historically significant neighborhoods of El Paso,” said Priya. “With different vintage fabrics juxtaposed to represent the different neighborhoods like Segundo Barrio, Sunset Heights, Union Plaza—different areas which have shaped the oldest parts of El Paso.”

In another nod to the region, El Paso’s Eme Design Studios created four pairs of permanent murals in the vestibules of the guest rooms. One side represents classic images of El Paso, while the facing image depicts iconic Juarez landmarks, each black-and-white background accented with neon geometric overlays. The mural is another example of the immersive, experiential design Priya and her team strove for. “It’s a play on this whole “The Pass” concept—El Paso being the pass,” said Priya. “This was a little bit of an atypical approach…We were able to create interest in a lot of different things in the room, rather than just playing up one wall, which so many other hotels do.”

barAnd now that the design is done and the last of the art installations mounted, the Nairs want to focus on the service aspect of their newest hotel. There’s the full-service restaurant located on the ground floor, The Downtowner—named after the original hotel on the lot, The Downtowner Motor Inn—set to open this March. Circa 1963 (this one is named after the date on the building’s cornerstone) will host daily happy hour specials and events. Tailoring the weekdays for business connections and meet-and-greets, and the weekends toward the locals and staycationers, they’ve rolled out Saturday morning Zumba and Sunday morning yoga, both poolside. “I’m focusing now on how we can create a really beautiful event calendar to make the Hotel Indigo a community-based hotel,” said Priya.

With all the talk of high-concept design and art installations, Madhi echoes the hotel’s true purpose of service and community, “The people of El Paso have been good to us. The feel of the place, when you walk in, it’s real. You get a good sense of good people taking care of you.”

offthewall

Featured, Visual ArtsMontecillo, Painting

Off the Wall

The Art Avenue

May 19, 2016

The ‘Australian Banksy’ has left his mark on El Paso in the form of a four-story mural on the side of a Montecillo apartment building. Known for his street art and mural work around the world, Fintan Magee completed “Two Worlds” this February. The piece is part of the Montecillo Murals Project, curated by El Paso’s own EXIST1981.

Growing up in Brisbane, Queensland, Magee gained his reputation as a graffiti artist before receiving a Fine Arts degree. He’s known for using his surrounding as his inspiration. “Living in a place that is surrounded by water, it was really interesting seeing this parallel world that locals call the border,” says Magee. Which is what the people of El Paso and Juarez do, says Magee: “exist between two worlds.”

Best known for his tromp l’oeil piece “Moving the Pointless Monument,” painted onto a stack of shipping containers in Belgium, Magee is no stranger to incorporating his canvas’ backdrop into the subject of his murals. The Sierra del Cristo Rey, spanning the US/Mexico border, served as Magee’s inspiration for “Two Worlds.” The mountains depicted upside-down in the piece, align with the real mountains in the mural’s background. “I love the landscape,” Magee stated when asked about El Paso.

Although inspiration for Magee’s work usually starts off with a photograph he says he lets his surroundings speak to him in creating his murals. “I don’t see my mural as the initial person that was photographed but as a fictional character,” says Magee. “Two Worlds” portrays a woman wearing a Ganado print skirt, crouching on a chair painting the mountains upside-down—embodying his parallel world theme. Magee says he drew inspiration from the rich culture that comes with living in a border city, painting the figure to “represent a native character—someone the people could relate to.”

This round of paintings at Montecillo also included an additional piece from EXIST1981 entitled “Shape Shifter,” as wells as multiple works from San Diego artist Christopher Konecki. Konecki’s 3-piece mural—featuring a time-themed deconstructed wristwatch, roadrunner cuckoo clock, and deflating hot air balloon—spans three sides of a stack of shipping containers at TI:ME, Montecillo’s shopping district.

16_fintan-between two worldsOriginally from El Paso, EXIST1981’s goal is to, “Shine a light on our local artists alongside the internationally recognized artists that we’re bringing to Montecillo.” His mural, painted on a shipping container set against the neutral desert backdrop, pops with bright sarape stripes centered by thick Ganado lines. “I always enjoy making (what some would consider) an eyesore into an attraction,” says EXIST1981.

The new murals received a warm reception from residents of the newly developed ‘urban village’ located just off Mesa between Executive Center and Sunland Park. “I think it’s a great addition to the complex,” says Montecillo resident Gabriel Virgen. “I think it’s beautiful…I hope they do more like that.”

EXIST1981 will continue the mural project with new pieces going up at TI:ME, alongside existing murals by Ernesto Yerena and Sergio Hernandez. “While living in El Paso my exposure to art was limited,” says EXIST1981. Feeding off of that experience, he says he’s excited to see the art scene progressing here in El Paso and says he feels honored to curate the Montecillo Mural Project, “[This is] a great opportunity to bring inspiring art to El Paso.”

moved_cover_gallery

Featured, Gallery, Past Exhibitions, SocialMetals, Moved, UTEP

Moved

The Art Avenue

May 17, 2016

On Thursday May 12, 2016, The Art Avenue Gallery hosted the opening reception of MOVED, an exhibition that displayed the works of the UTEP Jewelry and Metal students. The exhibit featured incredible pieces that ranged from interactive jewelry pieces to interesting steampunk metal pieces.

Click on the image below to see the photos of this fantastic event.

Make sure you also visit our Facebook page for the latest events.

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Featured, Gallery, Social, WorkshopsAcrylic, Collage, Memento, Memento 2, Rhonda Doré, Workshop

Memento 2

The Art Avenue

May 10, 2016

On Thursday, May 5th, 2016, The Art Avenue Gallery hosted Memento 2, the second series of  workshops imparted by artist Rhonda Doré. The success of the first Memento workshop resulted in more people wanting to learn about Doré’s creative process.During the workshop, Doré taught the attendees how to create amazing pieces with acrylic paint  and collage.

Click on the image below to view the photo gallery of this event.

Make sure you also visit our Facebook page for the latest events.

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eyes_master

Featured, Visual ArtsSculpture, Sebastian

Through the Eyes of a Master

Kimberly Rene' Vanecek

April 19, 2016

It’s currently one of the largest and most prestigious installations of contemporary art in El Paso. Spanning seven different media and over four decades of work, Knot: The Art of Sebastián features 53 pieces of art from the internationally acclaimed Mexican sculptor Sebastián at the El Paso Museum of Art.

Torus Knot 2014“He’s one of Mexico’s most important contemporary master artists, with a tremendous influence on younger generations all around the world,” says the Consul General of Mexico in El Paso, Jacob Prado Gonzalez. The Chihuahua-born artist’s mix of math, science and culture in his large-scale steel and concrete structures has intrigued the art world for nearly half a century. “The technology of the moment is always present in my work. Art, science and technology create a better man—a better understanding as a person,” says Sebastián.

Two years in the making, the show is quite the get for the El Paso Museum of Art. “It’s very important,” says Christian J. Gerstheimer, who curated the show. “To show contemporary Mexican art in El Paso is not done that often. Our biennial event includes Mexican artists, but to focus work on one particular artist is important.” The exhibit (which runs now through June 5) spans Sebastián’s career, featuring his latest work as well as pieces from his breakthrough series from the 1970s, Transformables and Desplegables. All of these mind-bending pieces are simultaneously feats of manual labor, design, engineering and mathematical paradoxes. “My thoughts and my brain processes things in a different manner—I view things in a different world,” said the artist.

“He visualizes these mathematical concepts and forms and that’s not as easy as it sounds,” said Gerstheimer. “Steel and iron aren’t always cooperative mediums, but he’s made them very effective.” On display are several pieces from Sebastián’s most recent series Parallel Universes, which makes reference to, among other complex notions, Chaos Theory. “Torus Knot” is a six-foot-tall circular structure, enclosed by purple rungs of twisting metal. “It’s truly amazing to figure out how he did that,” said Gerstheimer, who says he’s been reading up on subjects from Cosmology to fractals in preparation for the show.

Brancusi IV 1972 PlasticMaking reference to those two very subjects, the exhibit features a piece from the artist’s early-90s series Cultivated Sculptures. The steel and iron work was submerged in the ocean for two years, becoming encrusted with fractal-patterned coral. “The fact that the corals accumulate on this sculpture and add to it and become a part of it is something he doesn’t really control but he does,” said Gerstheimer. “It’s a collaboration with nature.” The show also includes a video component, presenting Sebastián’s work process, and explaining the more intricate theories of his work.

Even the element of color—most of his pieces are monochromatic—becomes anything but simple through Sebastian’s eyes: “My sculptures are made monochromatic because there are so many different values of color within the one color used, especially when they receive light. The light brings all of the colors in the spectrum. If you pay attention, the light transforms and bathes the work in a manner that creates various colors.

Although you can find Sebastián’s work from Japan to Switzerland, his Mestizo culture and the border region remain consistent themes in his art. “The colors [in my work] have a lot to do with the colors of the mountains of my land, my hometown, mi tierra. The different colors that reflect on the mountains as the sun sets, the deep oranges, yellows and reds that then turn into purple, and blue hues,” said the acclaimed artist, who was born Enrique Carbajal González, adopting his pseudonym after Botticelli’s painting of Saint Sebastian. “The origin of my roots is my constant influence…I choose to work with such brilliant colors because I am Mexican. My perception of color is painted and embedded in my culture.”

Sebastian
Sebastian

Most recently in the region, Sebastián presented “Esfera Cuántica Tlahtolli,” a large spherical sculpture, to the University of Texas at El Paso for the school’s Centennial Celebration in 2014. Also in the area are “La Equis” (the bright red X-shaped sculpture stands nearly 200 feet tall at the south bank of the Rio Grande in Juarez) and “Aguacero” (the 45-foot-tall steel sculpture depicting a desert rainstorm found at the Paso Del Norte international bridge).

Reflecting over his 40-plus year career, which includes architectural design, painting, jewelry making, public art, costume design and multimedia productions,

Sebastián said, “Each piece has love, attention, care and time invested in them. When an artist creates a piece, they are all excellent, they are each a work of art. I believe that I have achieved that with each piece, with each work in my career. There is no point in creating a mediocre work of art.”

unfolding

Featured, Visual ArtsPainting, Rhonda Doré, The Art Avenue Gallery

Unfolding Mysteries in Art

Chilton Tippin

April 12, 2016

El Paso Artist Rhonda Doré often props a blank canvas against a set of drawers near her easel.

As she works on one piece of art, applying layer after layer, she’ll dash streaks of paint onto the blank canvas below.

“I hate a white canvas,” Doré said. “The first thing I do is just cover it with something—anything. I mean, I’ll grab any random color, just to cover that white—it’s so accusatory.”

For Doré, the blank white page is like a mystery—daunting to behold, yet full of potential. It’s not until she begins covering the canvas that she begins uncovering the mystery of what the work could someday become.

"Three Days"
“Three Days”

“It’s like stepping into the void, every single time,” Doré said of creating abstract art. “Sometimes things come to you while you’re working, and you don’t even know where they came from. It’s amazing to watch the unfolding of it.”

Doré’s work is slated for an exhibit March 11 at Art Avenue Gallery, 1618 Texas St. Suite E. Titled Above & Below, the exhibit features artworks from two of Doré´s recent series: The Archaeology of Memory and Where Things Bloom.

Doré’s abstract paintings, built in layers, rich in color and texture, often contain hints to hidden mysteries—stories that tell of the passage of time and of “the small, meaningful occurrences in our lives,” according to her artist’s statement.

Doré is vice president and group creative director at Sanders/Wingo, an El Paso advertising agency.

About 15 years ago, one of Doré’s clients invited her to a continuing education art class at UTEP.

“The first day, they gave us the primary colors on a paper plate, and I mixed mud,” she said. “I mean, everything was just brown. I had no clue what to do.”

But Doré stuck with it. Eventually, she discovered she had a fondness—and a talent—for abstract painting. She began exploring art theory, listening to podcasts about artists and searching for methods she could adapt into her work. Despite her full-time position at the advertising agency, she carved out time to paint. And her desire to master the craft fed into her passion for it.

"Naxos"
“Naxos”

“The more that you do of anything, the better you become,” Doré said. “And there’s a reason for that. You learn things other people can’t teach you. If you want to draw a picture of a bird, you better draw 50 pictures of a bird. And pretty soon, you’re going to go, ‘Look, I can draw a picture of a bird.’”

Las Cruces resident Ron Fritsch, who retired in December from Sanders/Wingo, said he’s followed Doré’s work and process for about a decade.

“She’s had tremendous growth in her work,” said Fritsch, who’s also an artist. “It has a spontaneous look to it. It’s very carefree, but, at the same time, precise.”

Doré’s works contain scraps of paper surrounded by layers of textured paint. She collects these papers from places so wide and varied as to defy categorization: garage sales, alleyways, junk stores, foreign countries and more.

“Everybody has papers attached to their lives,” Doré said. “They help tell your story. Whether you like it or not, you’ve got a birth certificate, you have a driver’s license, a courthouse record. Everybody has something…And, to me, those kinds of papers are the fascinating ones.”

Part of that fascination stems from each paper’s mysterious history, Doré said. For example, she once bought a box of papers that belonged to a Kansas farmer named Harold Nelson. She included one of Nelson’s old checks in a painting that would later be exhibited at the El Paso Museum of Art.

"On Paper"
“On Paper”

“As I worked on the painting, I found myself thinking about Mr. Nelson every once in a while,” Doré said. “I wondered, ‘What was he like? Who was he?’”

She later did some detective work and found an online listing for Nelson’s headstone in a church graveyard.

Before presenting the piece, Doré made a press release, and, on a whim, sent it to newspapers near the Kansas town where Nelson had lived. She hoped to find someone who knew him—someone who might find it interesting that one of Nelson’s old checks “would be hanging on the wall of a museum.  ”

To Doré’s delight, an editor rang her on the phone.

“He said, ‘Harold Nelson was my very best friend,’” she recalled.

Doré and the editor had a long chat. She learned that after Nelson died, his adopted children organized an estate sale. The newspaper editor attended the sale. He tried to buy as many of Nelson’s personal items as possible, so as to keep them from scattering, but he evidently “missed this box,” as Doré put it.

Before hanging up, Doré agreed to send the box of papers to the editor. In return, the editor sent her a photograph of Nelson.

“For me, it was proof that every little thing has a story,” Doré said. “You may not know the story, but it’s got one. And that’s a wonderful mystery to explore.”

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