I’ve been making paintings that have a cartoon quality to them…but at the same time they are painted a bit aggressively and not so much in a traditional cartoon graphic style. Some cartoon shapes would make great abstract paintings. Cartoons are a strong force because they grab us as children….so the moment we see them as adults in a serious context we pay a bit more attention because it pulls us to childhood. The only other power to do that are parents. I see it as an extremely powerful tool to say something in painting right now. If it wasn’t I wouldn’t bother. For me it’s just a stage where I’m at right now. It makes sense to me.
Well it’s cool because I partnered up with my dealer Mike and got the Rozenblum Foundation involved. The work is really about what is happening in the artist studio right now. It’s really about where these 11 artists are going. They all got different backgrounds. It’s the beginning of something special and we are piecing together all these artists that work very differently but are actively making work. None of these artists… career-wise could have a retrospective at this point in their lives….so its called FUTURESPECTIVE for the works these artists are creating right now will define where they go in their careers in the next 5 to 10 years.
You experiment with layers, materials and techniques. Do you need the freedom to experiment or do you need various techniques to express who you are as an artist?
Both. These are not separate concepts in my work. They go hand-in-hand and support each other.
What are your latest interests in terms of techniques and subject matter?
Sewing is an element I’ve recently started using. It used to be something where I just did it to see what happens and now I sew a lot. My subject matter is the same as it ever was---it’s just material, shape and design.
Where do you see your art going?
I can’t predict where my art will go because I am always changing my work and challenging myself.
Does Miami inspire you?
Yes—it’s beautiful here. I’m not too inspired by the art scene as a whole, but I’m positive about what goes on within it. The atmosphere outside is more inspirational to me—for example, some of my paintings incorporate sports jerseys. I was inspired to do this out of being able to exercise and be active with my friends. Being around here keeps me in that mood.
You are part of the upcoming group show “Futurespective.” Can you tell us more about the exhibit?
I believe in the group of artists that were chosen to be a part of this show. I believe they are all great artists.
Yes. I do incorporate all sort of objects and re-claimed wood found on the streets. It is after all our environment. I try to get objects that are unusual, items you rarely see, work with them and assemble a balanced composition with them until something starts to take shape. I find that people relate to these items, which make an initial connection, but then, I change their perspective by creating something completely different and unexpected on top of each ensemble. It has become a true definition of “one ugly item by itself, it’s just ugly – one hundred ugly items, organized and systematically planned, become beautiful.”
In almost every way. First off: color. My island has a lot of color
and folklore. I try using my folklore to focus on my heritage, and hide
it within my work. I don’t like to scream my origin, but if someone
happens to see a symbol or a Dominican item like the “Limping Devil,”
guira or drums, then great! If not, no big deal. But the reality is that
a lot of ideas I have, have been brewing ever since I was a child in
that small island in the Caribbean. I just now posses the tools to do
it. My nationality does not dictate my art, but it shapes it. ---- Keep reading this interview right here
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FUTURESPECTIVE
The Rozenblum Foundation and the Michael Margulies Artist Agency Present the Group Show “Futurespective,” Curated by Kiki Valdes
MIAMI
- February 4, 2013 - The Michael Margulies Artist
Agency and Kiki Valdes announce "Futurespective," a group installation
focused on the exciting times in Miami's art scene. From striving local
talent to a growing impact on the international art conversation,
“Futurespective” encapsulates Miami's new era while highlighting
significant developments in the city. The forward-thinking, emerging and
mid-career artists showcased in “Futurespective” offer new, artistic
perspectives by experimenting with contemporary media and exploring
different themes to encourage new discourse.
Each member of the group interprets the theme individually, such as
Christopher Carter’s heavy, powerful sculptures with deep roots in
history or David Marsh's abstract, visual paintings with layers,
materials, techniques and the place of the painter himself. George
Sanchez-Calderon’s large-scale projects engage in the modern condition
while JeanPaul Mallozzi adds his distinct paintings of emotional
observation. Jel Martinez puts an urban spin on art -- going beyond
graffiti with explorations of erasure, removal and texture.
Johnny
Robles’ work ranges from murals to the juxtaposition of delicate black
and white renderings with bright colors and site-specific installations.
Kiki Valdes’ expressionist paintings explore the multi-dimensional
complexities of people, religion, American-life, sex, and superstition.
Ruben Ubiera’s Post-Grafism, centered on urban life and the Diaspora
culture of the city via installation and mixed media, adds to Miami’s
present and future representation. Nicola Constantino, Constanza Piaggio
and Florencia Rodriguez Giles add views from behind the lens.
Constantino’s photography explores female identity and questions the
ambivalent codes of conduct in modern society. Piaggio uses visual
language to transcend barriers and explore the unknown while Rodriguez
Giles examines transcultural themes such as spirituality.
The “Futurespective” opening reception will be held on Thursday,
February 4th and run through Thursday, February 28th at the Arte City
Building in Miami Beach.
Opening Reception - Thursday, February 14, 8 -11 pm
Closing Reception - Thursday, February 28, 8 - 11 pm
For more information on “Futurespective,” the artists, or upcoming events visit:
www.marguliesagency.com or call 305.972.8962.
You make your work by buffing and removing the surface texture of graffiti. What first interested you in graffiti removal?
I was really introduced to the removal in 1994 when the Summit Of The Americas was held in Miami, Florida. The streets of Miami were completely cleaned up and the buff [the mark left behind when graffiti is scraped and 'buffed' off walls] was everywhere. That was a drastic moment for me! I then continued to piece and continued to get buffed until 1998. The buff has always been a part of my world but in 2008 I decided to recreate a part of history, a part of my life, which is recreating the removals that surround us and go unnoticed.
Could you tell us more?
My work first starts from documenting the removals through photographs I capture in the streets. I then become 3 different characters, the construction worker who creates the wall, the vandal who defaces the property and the city employee who removes the graffiti. My work consists of multiple layers which are a reenactment of what is happening in our surroundings and all have a story and memory behind it. I try to give the viewer the opportunity to visualize and understand a movement that previously went untold and unnoticed by the general public.
There is an increase in street art presence in the fine arts and more shows about graffiti and urban art. What has changed?
I feel that the whole graffiti world has changed. It was an underground movement then but now it is accepted not only in galleries but also in the streets. It was very different in the 80's and 1990's.
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