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Cathy Cunningham |
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I have been working with glass
since 1981, trying to master a variety of techniques
in order to express myself. I have been drawn to
glass and light because of the ambiguous nature of
both. Glass can define space, yet can give that
space a limitless quality. Light can also create a
limiting or boundary line, yet it too has an
infinite nature. Light and glass are a natural combo
to me, both conceptually and physically; they are
inseperably connected. My strong commitment to our
obligations of stewardship of the land and my love
of the outdoors are compelling forces in my work. My
works have grown from object making to creating
installations with a more personal history.
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Interior,
ceiling stainglass |
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7xdot_series_purple
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Luis Guerrero |
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Luis Guerrero is a metal artist
whose sculptures represent special aspects of the
Mexican-American community. His extraordinary blend
of metal and insight on the Mexican-American culture
have forged a body of work that speaks volumes. |
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In 1996, Guerrero converted his
10-years of welding experience into a metal art form
in the garage of his northside San Antonio home.
There he discovered his ability to fuse and
transform pieces of metal, diesel engine parts and
junkyard scraps into symbolic, meaningful sculptures
that truly capture the evolving Mexican-American
culture, its ongoing struggle, present day myths and
musical legends.
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Chupacabra |
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Musicians
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TPS (Triangle Project Space) |
On View: TO HEAR IS TO SEE /
HOREN IST SEHEN
Art in the sphere of electronics: radio-art and
sound sculpture.
Curated by Gue Schmidt
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Jorge Garza |
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I’ve always been fascinated by the colored,
weathered walls of the houses and buildings of
Mexico, especially those found in small towns. The
walls are layered in multi-colors and are highly
textured and worn and I feel there is a history with
each layer of color. The various colored surfaces
reveal a passage of time with each subsequent color
uncovering a more recent story of life behind those
walls.
In my assemblage paintings I’ve tried to create the
colored and textured feeling of those walls. I
paint multi-layers of acrylic on wood panels. I
then sand, scratch, and distress the surface with
various materials such as sandpaper, scratch-awl,
and other tools.
I develop my compositions to look like the
contrasting light and dark colors of the walls on
the Mexican buildings. The lighter colors are
usually applied above the darker colors and the
colors I layer on top of one another are selected to
create a contrasting color scheme that compliment
and unite the composition.
The “nichos” (windows) that I cut into my pieces are
my attempt to give insight to the stories and
emotions that unfold behind those walls. The
objects I use in the nichos represent images and
language that tell the story. The heart milagros
symbolize stories of love or love lost. The faces
symbolize life and the possibilities that life holds
for each of us. The cut shapes of metal and wood,
in the abstract landscapes, symbolize special places
or a place in time. The machine parts symbolize
man’s energy and need to create.
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Del
Espiritu, mixed-media, 46x46 |
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A Spot
of Red, mixed-media, 24x30
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Marcia Loew |
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Marcia Loew employs her own
unique handmade tiles, along with found objects, to
create 2-dimensional contemporary collages. The
tiles are painted, tinted, and manipulated to
achieve the desired effect for the collage. These
wall pieces reflect her interest in Mexican folk art
as well as conveying universal positive messages.
Her sources of inspiration seem to find a home
together in this very eclectic approach to surface
design.
Marcia’s 3-dimensional designs also use found
objects that are recreated to form unique ethereal
sculptures. Boxes, drawers, doll parts, rusted
metal, etc. (with an emphasis on etc!) are the
materials she uses. These sculptures leave the
impression of niches filled with remarkable images.
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Neglect
not the gift that is in thee, 13x16, mixed-media
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Dia de
los muertos, 13x16,
mixed-media
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Malou Flato |
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Flato's imagery comes from the
surroundings. "I paint my life, family,
friends, and the stark Texas landscape. I always try
to have a camera around
for lucky breaks. During a weekend, I usually take
about four to five rolls
of film; then the next week, I paint what I saw the
weekend before.
Ceramic Monthly magazine...
Whether she's re-creating a Hill Country river scene
or depicting
families and communities in gatherings small and
large, Malou Flato has a
knack for fluid interplays of light and color in her
watercolors. She has
also created bright, expansive tile murals for a
school near Seattle, a
children's hospital in Austin, and a Boston subway
station, among other
commissions.
Domain magazine
[Malou Flato] successfully combines a
painterly approach to realism with a
delicate but accurate rendering of the human forms
in the work. The elegant
hair and skin tones, reflective surface of the
water, and whispering light
and shadow are notable.
Kathryn McKenna Bolger
Austin American-Statesman
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Joan Grona Gallery |
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Daniela Oliver |
Loss and Grief: A Universal Journey
What happens to love when we pass on? One might
assume that when someone we care for dies, our
relationship is forced to end, but we often find
that our love is transformed into something deeply
spiritual; a connection that is both eternal and
indestructible.
These etchings were developed after a series of
conversations with people, who lost someone they
deeply cherished. Their valuable insight lead me to
create this body of work which represents the idea
that grief is a universal journey that all of us
must inevitably face at a certain point in our
lives.
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Mark Hogensen |
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Pronkstilleven: still-life
of ostentatious display
This new group of paintings
is inspired by the Dutch Still-Life tradition of
the 17th century. This genre was an
exercise in examination of both the seen and
unseen. In the historical tradition, the
ostentatious display of fruit and cut flowers
expose symbolic details that reveal a disguised
look at the vices and virtues of Man. The
abstract forms and colors counterfeit the
reality of Pronkstilleven, providing an
unexpected visual feast, that clings to the
original intent. The paintings celebrate the
uneasy balance between Man, the natural world
and the imagined world.
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"Pronksilleven
#1" by Mark Hogensen, acrylic on birch, 2007
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"Pronkstilleven
#3" by Mark Hogensen, acrylic on birch, 2008
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Luis Valderas |
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Valderas brings Mesoamerican glyphs into the charged
computer age with his modern Aztec writing. He is
very active in the San Antonio arts community and
his work is featured in "Chicano Art for Our
Millennium" and "Triumph of Our Communities: Four
Decades of Mexica American Art," books published by
Bilingual Review Press.
Click images for larger view.
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All
Roads Lead to America |
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Volando
Como Cuahutemoc |
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