162. PARA SER CURVADA COMO LOS OJOS
(to be curved as the eyes)
The first piece was based on the constellation known as the Seven Sisters,
represents the seven nymphs of Greek mythology—This work incorporates
reeds, sewn through the paper and into the canvas behind it, to negotiate
an ethical minefield. Inspired by the Aztec custom of building agricultural
islands that float on lakes made of woven rush, where crops were
planted. The crops would put down deep roots, permanently anchoring
the islands in the lakes as Xochimilco Park, Mexico City.
Mythological lovers, who are supposed to have been transformed into
two of Mexico’s
major volcanos, (Popocatepetl and Lxtacihuatl. Allusions to rituals through materials
such as, bronze, copper, lead and reeds sewn on with nylon thread. An undertow
of atavistic representationalism rooted in gestural systems, culled from repetitive
acts. Floating planes in space posit a geometric premise. Reality is always situational.
Mental processes if ideation can obscure our relationship to reality.
Of the seven traditional metal planet associations, copper is connected to Venus.
The vaguely Deco, cured shaped tunnel vision becomes a spatial corridor recedes
behind the figure. These stylized figures seem elastic. Spaces they inhabit are
meant to conjure up “parallel worlds, conflict and compromise, message
and matter. Agriculture and industry battle it out in the same tableau.
During the weekdays the pollution permeates the air, sometimes making me dizzy.
Twelve 4x9’ works were done on rag, mounted on canvas in 5” deep
black frames. This is where I first started stitching paper to canvas.
