Family Portait, 2018, oil and acrylic on canvas, 50.25x 40
Family Portrait, Reunion, 2018, oil and acrylic on canvas
Frank Vega, Family Portrait, Carnaval, 2018, Mixed media on canvas
Peeled Portrait No. 6, 2018, Oil on canvas
Peeled Portrait No. 5, 2018, Oil on mounted panel, 21 x 19.5 x 2.5 in
Peeled Portrait No. 4, 2018 Oil on mounted panel 21 x 19.5 x 2.5 in
Peeled Portrait No. 3, 2018 Oil and acrylic on canvas 20 x 16 x 1.5 in
Peeled Portrait No. 2, 2018 Oil and acrylic on canvas 20 x 16 x 1.5 in
Peeled Portrait No. 1, 2017, oil and acrylic on canvas, 20 x 16 x 1.5 in
Doña Cuaresma, 2018, Oil and acrylic on canvas, 36 x 24 in
After Party Layers, 2018, oil on paper, 11 x 8 in
Soon to Be Numbered, 2018, Oil and watercolor on paper, 11 x 8 in
Another Beginning, 2017 oil and acrylic on panel 11 x 12in
Peeled Study, 2018, watercolor on paper, 7 x 6 in
Portrait of an Old Friend, 2018, watercolor on paper, 11 x 10 in
Portrait with Pink Background , 2017, oil on panel, 5.5 x 9 in
Purple Big Mouth Lady, 2017, oil on panel 5.5 x 9 in
untitled, 2017, oil on panel, 5.5 x 9 in
Positive Nose, 2017, oil on panel 5.5 x 9 in
Thursday, July 13, 2017, watercolor on paper 6 x 6.5 in
White Bandana, 2017 oil on canvas 4 x 4 in
Familiar Man With Hat, 2017, oil and acrylic on paper 13 x 10 in
Self Portrait, 2017, Oil on paper 13 x 11in
Untitled, 2017, oil on paper
Portrait with green hair, 2017, oil & acrylic on paper, 11 x 10 in
Outside Feelings, 2017, watercolor on paper
Hatted Musician, 2017, oil on paper
Currency No. 5, 2018, Oil on canvas, 4 x 4 in
Currency No.4 , 2017, Oil and acrylic on canvas, 4 x 4 in
Currency No. 3, 2017, Oil and acrylic on canvas, 4 x 4 in
Currency No. 2, 2017, Oil and acrylic on canvas, 4 x 4 in
Currency No. 1, 2017, Oil and acrylic on canvas, 4 x 4 in
2017 charcoal, ink, and watercolor 11 x 14in
2017 charcoal, ink and watercolor 14 x 13in
Portrait of friend, 2017 charcoal, ink, and gouache on paper
Balancing Act, 2018
Abajo, 2018, wood log, plaster castered banana, acrylic and fabric
One into Two, 2018, wood log and 2 x 4
In this project, I want to represent the different processes that wood goes through for mass production. To express these systems of mass production, I took two separate pieces of wood representing two stages, one raw (natural) and processed (altered). These two stages make most of your every day, but now because of modernization, the second stage has become the most prevalent of the two.
With this project, I hope to comment on the abuse of resources, especially deforestation which alters the ecosystem leaving huge marks that are hard to fix.
Today, large companies are interested in ways of accelerating production. Therefore almost everything has become standardized to accommodate the global trade like the 2x4 I am using for this project. Since I am against many of today’s practices, I chose to create something new and exciting by placing two found objects nearby. This process was done to show little of the artist presence, so it becomes all about the objects. These two pieces of wood undoubtedly do not go well together, but I like the conflict that happens between the two. I mean what system is perfect?
I chose not to connect these two pieces of wood leaving the option of pulling them apart at some point. However, the strength is strong enough that if there is no human presence they will remain together, therefore even the simplest system needs human existence to work. It is up to us.
Distant Pull, 2017, two chairs, two t-shirts, and yarn
My work tries to reflect on my relationship to others and space. Here I want to represent how some relationships can be affected by distance since the yarn pulls the shirts that are contained by chairs. The chairs provide a structure for the shirts to be standing by themselves providing enough weight to resist the pull. However, if one chair moves back the pull will become stronger forcing the other chair to move, representing the laws of motion action, reaction.
This work is personal to me since it represents my relationship with my brother. I used my brother’s shirt and mine because of his absence; this gesture is significant for this piece because he recently moved to a different state. Distance has changed everything between us since we have never been apart. The work takes several forms by using chairs to replace the bodies. My overall goal is to use anything other than people, but still, convey the same story through the materials. Chairs are bodies themselves. They exist in time and space. They can support or stand with no help, they are made of numerous materials, and have different parts that make a whole. Lastly, during the process, I had to walk back and forth for hours adding to the labor aspect that ties down our relationships with others.
Formation, 2017, hand made shelf and chair
Formation presents a deconstructed white chair that went through several processes losing its identity and function. The parts used for this project where the legs and back support, these were cut at random places. This process was chosen to acquirer diversity to hopefully think about our bodies and how we exist in different systems. These forms were arranged based on their shape, mass and design to create five different groups.
These five groups became interesting because every different shape created questions such as, what part is this piece from, can we connect them, and is this shape not from the chair?
The groups also, serve to represent the different social classes in the United States, starting with the lower class at the bottom, continuing with working class, lower middle class, upper middle class and lastly upper class. The number of shapes in each level represents the percentage for each different social category.
My goal is to think about how different shapes, when put nearby, can inform and become part of a more substantial body. We often choose to arrange things based on how they complement each other and their similarities.
Soft to Hard, 2017, plaster casted bananas and two video projections
With this installation, I want to focus primarily on the different changes that living bodies go through. I am using bananas to represent our bodies because they are also protected by thick skin and because they are not permanent. My primary goal is to go against the nature of this mundane object and produce a permanent form.
I chose to have three elements, two video projections, and a sculpture element to create a narrative to talk about different processes and emotions that emerge from each presentation.
The close-up video allows us to get to know this object in a more personal way. The black and white color provides a sense of absence or missing information. We all know bananas are yellow, but what happens when you take the color out? Does that make you wonder about its nature?
I Can Feel It Too, 2017, oil on canvas 83 x 57 in
Keep it Low kk, 2017, Mix median on panel 48 x 48 in
Wish, 2017, oil on canvas 40 x 50 in
This Is who I AM, 2017 Oil on canvas, 72in x 60in
Mi Raiz (Artist's Mother), 2017, oil on canvas, 38 x 45 in
Gift, 2017, Oil on canvas, 40 x 50in
Impermanence, 2017, Oil on canvas, 12 x 12in
Untitled, 2017, Oil on canvas, 8 x 8in
untitled, 2017, Oil on canvas 8 x 8in
Untitled, 2017, Oil on canvas, 8 x 8in
Timeless Smile, watercolor on paper
Vision de Madre, watercolor on paper
Proximity, 2016, soft pastels on paper, 18 x 24 in
El Viaje, 2016, oil on canvas
Still Life with Skull, 2015, oil on canvas 48 x 36 in