Art for Tourists

Last Saturday I was visiting Old Havana´s trading and touristic area. Along my walk through different streets I could carefully watch a lot of petty art galleries existing over there, many of them improvised.

Walking along Obispo St., now turned into a boulevard, everyone can notice that the works by these artists are indeed variegated, in their formats as well as in their topics. The most frequent techniques are oil on canvas, but there are also acrylics, watercolors and engravings.

The motives of these works go from the typical Cuban rumbera (young woman rumba dancer) to the peasants smoking the worldwide reputed habanos. There are also paintings of vintage cars, nudes, copy of famous paintings, and almost everything you can imagine. Their prices differ but they are generally economic.

Going on with my walk, heading sea I watched there are other proposals, more serious from the artistic point of view.

Many times, in hard times, painting for tourists has been the way to survive by artists with a more serious project, but that they also must pay their bills.

Talking about this with some artists, friends of mine, we reached the conclusion that the works for tourism market are as valid as any other, if they are created with an artistic sense.

Later on we arrived to the former Almacenes San José in Havana docks, just in the arrival area for cruise ships carrying thousands of tourists, and now a huge gallery, looking more like an art supermarket.

This place is some surrealistic due to the unbelievable mixing of styles, variations and almost all related with visual arts, including handcrafts.

After walking around for the place I realize the great talent hidden behind many of these works, and I also notice the happiness of tourists when buying some of these works.

At the end of the day I was able to understand that art can make us happy, although being humble and not coming from fancy galleries, besides allowing many artists to live from their skills with the only assumption of meeting their daily needs.

The Painter and His Model

One of the most spread myths on the history or art deals with the relation of the painter with the models of his works. Among the most famous to be outstood is the one who posed for Leonardo Da Vinci in the well-known masterpiece “La Gioconda”. Endless versions, which has become part of the legend of this picture, concerning the identity of this lady and her link with the artist has been written.
It isn’t hard to imagine that in certain and specific occasions the relation between the model and the artist is no longer professional to turn into something personal, but this happens in each and every work, in which two people work together for long time. Besides, if we add artistic sensitivity to the characters, then, there is the perfect combination for affinity feelings to arise.
There are situations where the beauty of the model is her power, and the challenge of the painter is to portrait her, and, at the same time, transmitting in that artwork a true and spontaneous emotion to be appreciated by those watching the work.
Currently, with more daring modern art, the traditional use of model has turned into a second level under the influence of new technologies used by the artists has moved to a secondary level. Under the influences of the new technologies used by artists, considerable changes when making portraits, which are closer to electronics than to the brush, has taken place.
This is probably the area of vogue where current models enjoy a leading character due to the fame and prestige that this profession can bring about, never forgetting the high incomes earned by the top ones. But it has to be done that in this way of modeling the relation with the artist is far, because clothing or gadgets designed becomes the aim of creation, and the model is nothing but their support..
There are moments when painters use their relatives and friends as models. When this happens the work may be highly emotive, because the personal feelings of the artist are involved with his closest environment. I am sure that this profession will continue existing for long, while the need of grasping a sight through brush and painting remains, artist and model are required and complemented.
Either a painting, or a sculpture, when an artwork with a woman as leit motiv is bought, many people will ask themselves, who would be the model, and her relation with the artist.

Influencies

Frequently, when watching my recent works, I look back and think on which was the process to arrive to what I´m currently doing.
Remembering my early times as painter I find that I came through several stages and I have made works with different characteristics, searching for my own expressive shape and my own technical learning.
As times went by, I was creating a work which depicted better my artistic intentions, with more personal elements, where my ideas, feelings and visions were caught in the painting, with defined elements on which I can recognize, as they become visible, the influences received along more than 20 years of work.

First of all, I feel I am greatly influenced Picasso, from whom I must admit I am an unconditional admirer.
I have made paintings under the influence of Picasso, and I feel quite satisfied of them. I tried to recreate the environment of that great artist using, mainly, elements from the composition and from the color of the blue and rose stage of the painter.
Another great influence I notice when watching my work is the one by the Cuban Wifredo Lam. This great artist, friend of Picasso, lived hard times along great part of his career; he was always faithful to his style and to his artistic beliefs. I have dedicated many hours to study in order to understand his philosophy and to analyze the technical resources he used when creating his magnificent and original paintings.
Other influences present in my work come from the French impressionists, specially Seurat with his pointillism, and some other debt with Renoir. The work by the Austrian Klimt has attracted my attention and has taught me that each and every artwork keeps, in certain extent, a decorative function, which does not clash with the validity of the proposal.
These are ideas on the way I reached my current work up to I am able to try understanding, because in artistic creation there are things that always will be a mystery.
After some years I think may work has its own life, that it has nurtured from many artists trying to be original, but mainly, that it has been done sincerely.
Now, good-bye, until next writing.

Painting Art and Decoration.

For many critics and experts on the topic, art, if not ugly and weird and not classified as a work to be taken into account, if considering something ugly anything that severs from most people’s taste, and also as neither enjoyable nor understandable by ordinary audiences. Besides if art is classified as decorative, then, in the eyes of some gurus, self-appointed as judges of the legitimate, the crime is higher,
What is the difference between especially decorative art and artistic painting?
IMHO, the difference is more conceptual than objective, because all art can be decorative if someone proposed it. It is true there are works designed to adorn a public or private space from their outset, but according to me this aim does not decrease at all their artwork category. The famous shark by Damien Hirst, placed in the lobby of a luxury hotel, overlooking the sea, would automatically become a decorative element. The same also could happen with many of the current most eccentric works.. Now, from the physical point of view, the difference between decorative art and the so- called creative becomes especially obvious in the manifestation of the material for decoration, oppositely from painting, where the material is usually annulled by the created work.
It is said that the picture hides the canvas, but tapestry shows its weaving, porcelain highlights the glow of glass while the watercolor hides paper. I’m not very happy with these arguments, but it is an attempt to understand this artistic paradox.
I firmly believe that the future role to be played by the work, in many cases, it is not even intended by the artist; it should not be used as the trigger for its legitimacy. For a purely decorative work, the artist needs to create, inspire, and suffer an intellectual process like other creative art, doesn’t he, or she?
In certain sectors of art market has been established that to be a current, modern and consumable artist, symbolic attacks against the established order in the representation must be carried out and striving to make a respectable profession for breaking the rules; while traditional art, which demands a great sacrifice in time and labor is placed in a second level.
Art as a concept is neither owned by experts whose work depend on market, nor by those who write in specialized journals, despite of their scientific character on the topic. Art is a social phenomenon, and it is art only if social awareness accepts it as such.
Decorative art, when made with conviction, is as much art as any other. The works by Renoir, Klimt and many more, are representative of an art which adorns and creates us a culture aesthetics.
Art should be democratic, without discrimination, with room for all ideas; art is not better or worse, neither old nor new, art is soul, passion; it is what makes us human and must be free without experts or guardians which often defend economic interests. Art, as idea, belongs to us all.

Art with Animals. Where to Buy it?

Since many centuries ago the dog has been closely linked to the human being and it is hard to find such a close bond between two different species. This relation has also been reflected in art.
Primitive man depicted animals in cave walls, but these were those used for feeding purposes. Representations of human beings with dogs as domestic animals are also found in Ancient Egypt relief tombs. In the same extent the dog image is also present in some beautiful mosaics from classic Greece, and thus, a tradition which comes to our days has been created.
I am not going to tell the story of dogs presence in art; there are plenty of experts for that . The topic comes out because I’m one of those who enjoys and appreciates those incredible animals, and that’s why I represent them in my paintings. When I paint a family (one of my favorite motives) I consider it unfinished until adding it a dog. I think this is because I have always had the so-called “man’s best friend” side by side to me.
When conceiving a work where I’m going to depict a dog I try to do it in a different way, searching the distortion of forms and trying to create a new plastic reality, in which all the elements of the work take part and integrate on equal conditions.
Looking into my images files I found several painting with dogs I made some years ago, and comparing them with more recent ones, they allowed me to see how much the way I depict them has changed.

Egyptian art is forever

One of the most remarkable features of Egyptian art is its sense of eternity and is interesting because part of the art that is created today is temporary and volatile, in the case of ancient Egypt was very precise style and obeyed strict laws that each artist had to learn and that once in power, were all they needed to know to fulfill their mission, which was motivated by religious and ceremonial function that had the art in that society, where the role it had the funeral establishment.
These elements contributed to Egyptian art remained almost unchanged for 3000 years, but transit through different stages. This art has exerted great influence on several generations of artists who have been inspired by artistic philosophy.
In my case the main influence I have received lies, I think, in the representation of the human figure, as an essential element of the work, and in the pursuit of that feeling of immobility you can feel when looking at the monumental work of the pyramids. So I think one of the most important things of this art is its own existence. It is an art made in terms of death, but is a living art, thrilling and enchanting at the same time.
Clearly, the ancient Egyptian artists did not work for wealth and fame, or for a market, they sought the approval of their gods and Pharaoh, being part of their existence and their beliefs, sincere, just so possible to understand the fact of building these huge monuments and sacrifice involved.
Egyptian art is an example to understand what art really is, an art which it is not contaminated. It is in its purest form, it was created to be enjoyed after death, not to be displayed; it is buried for eternity with its owner, and when it is brought to light, many centuries later, it seduces us impressed by the strength of its genuineness.
When I think on something I wished to achieve through my painting, I get images of the pyramids, of the sculptures and of the profile figures, with all that emotional weight of eternity and emptiness, and then I understand that I would like to achieve these emotions through my paintings, meanwhile I keep on enjoying an art which went beyond its time, as well as the artists who created it.

Model with Hat

One of the most frequent questions asked about my work deals with my custom of
painting women with hat. Answering that question was something difficult,
because I don’t find a convincing reason for such motive. I think it is
something instinctive, but the truth is that I hardly see women wearing hats in
the city, only in the beach or in the countryside.
However, I have noticed that when a model wears a hat, no matter it could be an
ordinary one, something magic happens, and the image is totally transformed,
thus creating a sensual and fancy environment, mixed with mystery and
provocation. Besides from the visual point of view the artwork composition and
structure is enriched with more elaborated elements, always according to my
personal perception.
It has to be taken into account that a long historical tradition is enjoyed
by the hat which is composed by its top and its wing; may times it is adorned
according to vogue, and it has been used as protection against the cold and
son, and in some cases they may denote either social classes or cultural groups.
Renoir painted fancy ladies with beautiful and flowered hats on which the
glowing light used by impressionists reached its ultimate expression of
aesthetic pleasure. I am sure about the influence exerted by that painting in
my work.
If possible, I would like to collect impressionist art, but I agree on buying
quality reproductions. There are current artists developing an impressionist
style, with a very good technique and with affordable prices. Their paintings
are ideal articles to be bought as wedding gifts as well as to decorate our
homes, thus creating a nice and cozy environment.
Up to the moment I think I will keep on painting women with hats, not fully
understanding that I do this as an obsession, being among them the fact of
cutting the space in horizontal and vertical lines, creating masses which
assist the visual balance of my work. But finally, these reasons are as
subjective as art itself, because the truth is that the way that the creative
process is carried on, is a mystery.
To tell you the truth, I will say that no woman in my family wears a hat, not
even my daughter, who really wears it so gracefully. These are daily life
contradictions.

Distortion as visual resource.

When I was in my early moments in this trade and studied some theories on visual arts with a professor, friend of my family (because I am self-taught) he commented to me when watching some of my works, that I made too much use of the “constructive distortion”. This was the first time I heard talking about this topic.
Later on, looking for information I found that it was currently a very natural form to represent images by altering the natural form to intensify an emotion or an environment expression, and it was a very used resource by great painters like Van Gogh, Gauguin, Cezanne, Matisse, Picasso and many others
In some extent is believed that the Greek, with his special lengthening of the figures was a forerunner of these expressive resources.
These artists broke with the limits imposed by old time naturalist art. At the beginning the great public did not understand these works, and at the same time they were also rejected by academics.
Generally the most popular works are those depicting a motive and a making closer to the understanding of most of the people, with representations familiar to them. On the other hand, when the work is original there is a different aesthetic sensitivity in which the forms are exaggerated, distorted, simplified or suppressed, turning into a visual reality of unique characteristics.
To be appreciated these works requires a sensitive spectator, able to discover the pleasure of these creations and identified with the ingredients of a diverse artistic content.
Every time I start a new work, I feel the need to distort and alter the natural forms, and this is for me the highest difficult when making the work, due to the interest on making new and original forms in a world where almost everything is invented.
Past time artists represented the world with and excellent, an even, brilliant, depicting it as faithful as possible, based upon the classic concept of art and beauty, by which nice was identified as beautiful.
In our days the ideal of beauty is more complex, in full accordance with the hectic world where we lived, and our art is not already the sum of technique and representative truthfulness, but something having an emotive content which can be pleasant or unpleasant, but it has a human characteristic recreated by abstract and subjective elements, as result of previous art heritage.
In the personal aspect I intend to be direct and affordable with my art, I don´t like the fact that my paintings have a message, but I prefer that they be visual experiences, as pure as possible, so that the main objective be finding the meaning of forms.
Here I have some photographs as examples of works when I amused myself working to distort the figures.
So long, until my next writing.

To Be or Not To Be

When reading different art blogs it become obvious there is a topic enthusiastically debated, which divides the artistic community in opposite opinions. Basically it is what is considered as “art work” within contemporary context.
It is true that current art fits to may interpretations which may mistake not only the general public, but also the experts who still disagree.
I believe that since the day when Duchamp decided to send ordinary objects to an exposition, and declared them as artworks, under the premise that the important aspect is the aim of the artist, and that his idea to consider something as art is enough for it to be, it is probably that he did not imagine that almost a century later, the controversy is still valid.
And thinking on these topics sometimes I ask myself: Who decide what is an “art work”? Which principles are taken into account? Where are the limits? Are there limits really?
Although there are few doubts that art is 100% subjective, I think – and always from my point of view- that subjective things must also fulfill certain conditions and parameters taking into account the common sense and a minimum of intellectual reasoning.
A point has been reached in which anything can be considered art, even the air we breathe. A good example is the case of the Italian artist Piero Manzoni(1933-1963) and we agree on the fact that this artist was ironical when creating his works, but that reputed galleries treasure among their exclusive collections some of the rusty tin cans where the artist kept his excretions and he labeled them as “artist shit” is something to think about, mainly when one of this pieces reached the amount of 124.000 Euros in an auction in 2007.
The work by Yves Klein (1928-1962) is another polemical example when we say that part of his paintings were invisible and proclaim art as immaterial. Besides all this, according to the German painter Kurt Schwitters from the DADA movement: “everything that the artist spits is art”. So, the artist body also becomes an art producer.
There are also interesting news such as the one concerning the 9- year old boy who is becoming millionaire by selling his paintings in thousands of dollars. The information says that he made his first important selling (233,000 Dollars) in 2010. Not underrating the talent of this kid, it would be curious to know how this was reached; if indeed necessary is a curriculum vitae, a resume, and all the requisites demanded to most of the artists by those who settle the prices and by those who buy the works.
Other of the most argued contemporary artists is Damien Hirsch, but so much has been said about him and his famous shark, that repeating the same again and again, in favor of ,and against his work is not worthwhile, mainly when the criteria on his work are well known in the media related with art.
A lot of examples can be mentioned, and one that attracted my attention was the one of the artists who sell invisible artworks, in this case fresh air of the area in 10 000 dollars.
How is this climax reached?
I know that some galleries and collections intend to settle the value of the work art based upon the effort and hard labor through many working hours plus a higher load of intellectual and psychological suffering, in which the result would be exclusive, difficult to repeat and mainly, something that would be attractive or “beautiful”.
I think that these theories are nothing more approximations, at the end of the road the result is emotionally enjoyed and felt. I also think that there is no other way due to the magic formula to define the artwork does not exist because this depends not only on the artist, but also on the spectator, and this is the last one who complements it.
Even though, with all the discussions provoked by the boldest contemporary art I think it is positive the existence of freedom to make all kind of work, no matter how absurd it looks, because that capacity of create and imagine the impossible is what make us humans.,
However, when I watch the surgeons perform new and complicated surgical procedures to save lifes , or scientists who try to cure cancer, or those engineers who guide a spaceship to Mars, and all those intelligent people whose ideas make us living more and better, as an artist I can´t stop thinking in certain moments, while comparing them with those who earn millions by a paint stain made in only two minutes, or with those critics who argue year after year why someone had the idea of putting a cow into a fish tank with formaldehyde. Then I think there is indeed some problem in the intellectual level within the world of art.
In this moment i don´t remember who is the author of the phrase: Art is the science of the ignorants” which in some cases becomes true.
Up to now it is enough, I have written so much. .
Until my new writing then.

The Method and the Inspiration

Horse and Woman

Each painter has his personal way to turn his ideas into a true work. generally his/her working method is getting stronger as years goes by, until it is settled as an important part of his creative process.
On the other hand, the best way to find inspiration is being concentrated in the work. Every day I look for time in order to draw and play with lines and shapes. This is the way that some of my works´ ideas and visions of come to me.
Other fantasies come from great masters´ influences, but, first of all, by the experiences accumulated in our lives.
When I find myself in my working phase, painting a series of pictures, I already have the general idea of the topic and shape to represent them, but previous sketches are what decide, in great extent, what the future work will be.
For me it is important to use drawings and sketches due to their spontaneity, because ideas can be materialized in an easy and precise way. I have hundreds of sketches kept, some of them were never take to the canvas. On those I turned into paintings, it can be appreciated there is a wide space for improvisation and naturalness, because, in most of the cases, the final work has remarkable differences with the sketch.
In this post, I share some sketches, and the paintings which came out from them.
Until my next comment