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*from a selection of sketches, drawings and portraits of people known to artist, their dreams, anxieties and life styles as perceived by artist. Sketchbooks are the diaries artists carry in their heads until put on paper, they are made entirely from the stuff we carry in our heads, they are not copies of other people's art and are not made to please anyone except artist who may or my not use them in future for the making of art. They are neither good or bad; I don't even know if they can be categorized as art, all i know they are revealing to what we feel within ourselves and what we think of those that have influenced our art. The portraits are not as they or the world sees them but as we perceive them to be. In short they are nothing but impressions of them at the moment which can often change within minutes or hours. There are some of course who never change for the better or worse. When viewing set, should anyone be interested in the character or image drawn, you are welcome to question them in my comment box and I will gladly answer your queries.
Thank you!
p.s. I am posting them with the intend of publishing several hundred of them in a art book with notations on how some of them evolved into paintings, most of which appeared subconsciously.
*/rebirth of the Mexican Tetra/, she was born in Rio Grande, as a child she has traveled as far as Nueces and Pecos. She was born without eyes making her totally blind to her surroundings, living her life as if in a cave. Her skin is pinkish white; having lived in captivity she has turned carnivorous, but if nurtured and cultivated she may become with time harmless.
Her birth sign is pisces.
from my own notes on "La Tetra Mexicana" of the 1980's when I first started to paint her in female form. This is my first attempt in many years to revisit her and once again try to capture that unforgettable moment when she separates from her blind mother and in spite of her blindness enters the world which rightfully belongs to her.
p.s. best seen on black
*mixed media, cutout standee, acrylics from various photographs of artist /two newspaper clippings from the early 70's
Hipolito bariloche, writer, artist aka as "Bariloche el hippo" after the legendary writer and saint Agustin Hippo.
Hipolito was the eldest son of Maximiliano Bariloche and the grandson of the gypsy queen Maria del Sarado Corazon Montijo. Hipolito possessed a great talent for the double meaning prose he wrote on his beloved "Remington" All his writings were published on mimeographs and xerox papers. His paintings, lamentably few, were whenever shown in coffee houses confiscated and he was disgraced by by the authorities, a art critic of the period called them "trashy productions of pure negligence and haste, not good enough to wipe my .... with. Stuff of what artist's of to-day strive for. Hipolito died in 1987 at the age of 76 in Asuncion, I am told that he is buried in a unmarked grave. Some say he served time for petty thefts and other minor crimes.
p.s, Sadly I could not find anything about this brilliant writer on Wikipedia
"Living rooms" by Paris combo: youtu.be/hptx-ofa5Uo
*Patricia Hetter, writer, bullfight critic and lecturer writes: "The ideal bullfight , as it has been described, exists only in the imagination. It is an ideal which the aficionado carries in his head and he will be fortunate if he sees the ideal approached more than a few times in his lifetime.
Thus he attends every Sunday afternoon in the season, drawn by the hope-not an expectation-of seeing the theopretical corrida realized. Moreover, when the corrida falls very far short of theory, it is a brutal and degrading spectacle. Only a hair divides tragedy from travesty.
Thus this particular aesthetic experience cannot be predicted.
A concert goer carefully calculates the quality of his pleasure beforehand. He has the program, the reputation of the conductor, and of the orchestra, perhaps past experience with both, to guide him, The afficionado may know the matador, but there are too many variables for him to know the serene expectancy of the concert goer. No one can gauge the stature of the bull in advance of his actual trial, and the tragedy once begun, must go on to the end, no matter how recalcitrant the bull or reluctant the matador. On such an occasion, beauty evaporates like a curtain of mist, exposing the pain and cruelty for which beauty is the only apologist.
P.S. from my journals, studies and lectures attended on bullfighting
The set was inspired by the eighteen equally intricate designed dollhouse-style interiors made by Frances Glessner Lee, which she titled "The Nutshell Studies of Unexplained Death" Her sets consist of a series of eighteen intricately designed dollhouse-style dioramas created by the greatest and my favorite doll house interior designer Frances Glessner Lee, a millionaire heiress with an interest in forensic science.
Her dioramas are detailed representations of death scenes that are composites of actual court cases, created by Glessner Lee on a 1 inch to 1 foot (1 : 12) scale./same as mine/ She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. She called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell. Students were instructed to study the scene methodically—she suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.
The dioramas show tawdry and in many cases disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.
Glessner Lee used her inheritance to set up Harvard's department of legal medicine, and donated the Nutshell dioramas in 1945 for use in lectures on the subject of crime scene investigation. In 1966 the department was dissolved and the sets were placed in storage. Presently the dioramas can be viewed by appointment at the Maryland Medical Examiner’s Office in Baltimore. A exhibit well worth while to visit for those interested in doll house interiors.Those wishing to view these sets, I strongly suggest making an appointment well before setting out to view them.
We are once again, after many years revisiting my own sets, each with it's own story connected to real life events and sharing them with some of my flickr. friends who expressed interest in viewing them.
None of the renderings have previously been exhibited or published.
I am most interested in your comments for we are once again entertaining the thought of publishing them with their stories in book form.
Thank you!
thank you for your interest.
Cuerpo Presente" by Federico Garcia Lorca, translated into english by Roy Campbell
"Body present"
The stone is a forehead where dreams moan,
without winding waters or icy cypresses.
The stone is a shoulder to carry time
with trees of tears and ribbons and planets.
I have seen grey rains racing toward the waves,
lifting their gentle and wounded arms,
that they may not be trapped by the sloping stone
which shatters their limbs and soaks up no blood,
For the stone collects seeds and storm clouds,
but it gives forth no sounds, nor crystals, nor fire,
only plazas and plazas and more wall-less plazas
There on the stone lies the well-born Ignacio.
Now it is finished. What is happening? Look at this figure:
Death has covered him with a sulphur veil
and put on him the head of a dark minotaur.
Now it is finished. Rain falls in his mouth.
The last fleeting breath collapses his chest ,
and Love, drenched in tears of snow,
is warmed in the highlands of the ranches.
What are they saying? A sickening silence falls.
Before us his body is fading away,
a figure once firm and full of life
that now we see filling with bottomless wounds.
Who rumples the shroud? It is not true what they say!
No one is to sing here, not weep in the corner,
nor spur the horse, not freighten the serpent.
the libreto design is best seen on black
All Rights Reserved
Available for Request to License
*fou roux" or "The red headed madman" as the villagers called Vincent Willem Van Gogh, after he cut his ear lobe on Christmas eve, dec. 24,1889 and
wrapped it in newspaper he gave it for safekeeping to his only friend Rachel Billot. Six month later, on july 27, 1890, at age 37 he walked into a field and shot himself in the chest, on seing himself alive and a failure even in the art of "self kill"
he turned around and walked five miles back home, only to die penny less two days later.
To-day, no longer refered to as "fou roux", Vincent Willem Van Gogh is hailed as the "father of modernism" and considered one of world's greatest artists.
P.S.
the above is one of many attemps I have made to portray the great master, never even getting close to what I wanted to express.
As of this moment I already have doubts about wether even posting it.
the above is on plywood, mixed cement, primer, metalic silver spray, latex paints and the ear is carved out of wax
* Amarga Lopez como quince anera, tomo parte del cuadro Flamenco IBero-Americano de Medellin en el ano 1960. Bailaba el Fandango, Tanguillo, Rhumba Flamenca, y otros bailes populares de la epoca. Decian que tenia Duende de una princesa Griega, y es verdad que de perfil tenia una nariz de Diosa.
*In 1931, Garcia Lorca describes "cante jondo" thus:
The "cante jondo" approaches the rhythm of the birds and the natural music of the black poplar and the waves; it is simple in oldness and style. It is also a rare example of primitive song, the oldest of all Europe, where the ruins of history, the lyrical fragment eaten by the sand, appear live like the first morning of its life. The illustrious Falla, who studied the question attentively, affirms that the gypsy "siguiriya" is the song type of the group "cante jondo" and declares that it is the only song on our continent that has been conserved in its pure form, because of its composition and its style and the qualities it has in itself, the primitive songs of the oriental people.
for a glimpse into the real "cante jondo": *youtu.be/5TnV__AJzuk
* drawn with with burners which are similar in design to a soldering iron.
p.s. some years ago this technique was called "pokerwork" or Pokker werks" and I believe originated in Holland in the 60's and fell out of favor.
"The art of Stefan Krikl" This set consists of paintings, drawings, prints and illustrations I have sold or traded with other artists over the years. None of them have been published or shown before. We have been told that even though they no longer belong to us, the images do, I am scanning them to my stream for the record and your enjoyment with the intend of publishing a selection in book form.
*"#18, part of my brush drawing collection spanning over some 30 years and consisting of several thousand drawings and prints.*these have never been shown before. All are drawn on arches paper and in spite of aging are in excellent condition. Hope you will enjoy them as much as we revisit them after all these years
thank you!
p.s. I will number them for my own record keeping; they are not in order for some are private and others may not be suitable for viewing for all ages.
"gesso covered cardboard silhouette standee without colors applied as yet.
These paintings are part of my new series of tableaus set in "living rooms". a term used to describe artists studios where artists actually "lived" unlike those of to-day where artists just go to paint.
M.Z.
"what is the point of painting me like I want to see myself?
or better yet,
why paint me as you wish I was?
what is a portrait anyway?
and whom or what does it serve?
do you want to paint me as my wife wishes to see me?
than better take out your polaroid and snap me
for I shall be snappy, grin and look happy
or if you are a real friend paint me as you know
how I am,
all tied up, tired of living and all that dying
tired of writing what no one reads and tired of praying
to what no one listens,
if you have any balls, than paint me
but not with brushes,
paint me as I am
your friend"
M.Z. 1978
translated best I could from a letter written to a friend in Spanish.
This painfully painted portrait when completed will be part of my "living room" series
*#1 de una nueva serie titulada: "la crueldad"
this video comes with english translation
"La crueldad"
"La crueldad es sobre todo necesidad y rigor.
La decision implacable,
irreversible de transformar al hombre
en un ser lucido
De esta lucidez nace el nuevo arte
Todo nacimiento implica tambien una muerte
Para dar origen a mi crueldad
sera necesario cometer un asesinato"
from the book, a best seller translated into many languages after his journey to Mexico in 1936 where he met Mexican painter Federico Cantu who at that time was giving lectures on the decadence of the western civilization, convinced; he alienated himself of his french culture and went to live with the Tarahumaran people who's culture he embraced and studied. The Tarahumarans who for centuries experimented with peyote, introduced him to this potent plant, which he became addicted to, recording his experiences,in his first volume of the "Voyage to the Land of the Tarahumara". The content of this work closely resembles the poems of his later days, concerned primarily with the supernatural. Artaud also recorded his horrific withdrawal from heroin upon entering the land of the Tarahumaras. Having deserted his last supply of the drug at a mountainside, he literally had to be hoisted onto his horse, and soon resembled, in his words, "a giant, inflamed gum". Artaud would return to opiates later in life.
In 1937, Artaud returned to France where he obtained a walking stick of knotted wood that once belonged to Jesus Christ. After his return, he dedicated himself writing his best known work: "the theater and its double" which contains the manifesto: "Theater of Cruelty" from which I drew my inspiration for this set.
Teatro de crueldad
La vida en sí misma no es una solución, la vida no tiene ninguna clase de existencia elegida, consentida, determinada. No es más que una serie de apetitos y de fuerzas adversas, de pequeñas contradicciones que alcanzan su fin o abortan siguiendo las circunstancias de un azar odioso. El mal, como el genio, como la locura, se encuentra instalado de manera desigual en cada hombre. Tanto el bien como el mal son el producto de las circunstancias y de un sentimiento que se potencia hacia algo más o menos activo.
Es ciertamente abyecto ser creado, vivir y sentirse irreductiblemente determinado hasta en los menores reductos, hasta en las ramificaciones más impensadas de su ser. Después de todo no somos más que árboles y probablemente esté inscripto en un recodo cualquiera del árbol de mi raza que algún día me mataré."
Antonin Artaud
*"with his left hand holding the sword, with his right the rag, standing, holding his ground; contend with himself and the progress of his sculpture, Bernabes, for a second relaxes for the ton of danger has just past him by, when, without the slightest warning and in less than a second,he turns around as if on a dime, lifts his huge head and using his favored weapon*, plunges it deep into his opponent.
part one of narrative on the death of Bernabe in the ring of Maracaibo in 1954 reported in "El Excelsior" and translated from Spanish.
*in taurine idiom, the horns are referred to as weapons, when growing up, the bulls learn to use their "weapons" when fighting among them and grow confident with the one horn that has given them a sense of victory over their opponents, hence their preference of one horn over the other, it is therefore of utmost importance for the bullfighter to learn as quickly as possible which of the two horns is the "killer" one.
P.S. from my notes on bullfighting, transl.from Spanish
from my notebook on bullfighting.
An interesting double portrait.
Oskar Kokoschka 1886–1980, Austrian Expressionistic artist, poet and playwright.
Alma Maria Mahler Gropius Werfel 1879–1964, Viennese-born composer, author, editor and socialite; wife of Gustav Mahler.
Taken from ‘Vienna 1900’, Artline Editions 1990, by Hans Bisanz.
*some of which are whimsical and rather amusing; should there be enough interest will post these for your enjoyment. The above is from late 50's
in spite of it's crudeness, rather charming on black
*the commissioned suite presently under construction is inspired by Antonin Artaud's: "voyage to the land of the Tarahumara" One of his finest accomplishments and one of my favorite poems of all times:
"La crueldad"
"La crueldad es sobre todo necesidad y rigor.
La decision implacable,
irreversible de transformar al hombre
en un ser lucido
De esta lucidez nace el nuevo arte
Todo nacimiento implica tambien una muerte
Para dar origen a mi crueldad
sera necesario cometer un asesinato"
from the book, a best seller translated into many languages after his journey to Mexico in 1936 where he met Mexican painter Federico Cantu who at that time was giving lectures on the decadence of the western civilization, convinced; he alienated himself of his french culture and went to live with the Tarahumaran people who's culture he embraced and studied. The Tarahumarans who for centuries experimented with peyote, introduced him to this potent plant, which he became addicted to, recording his experiences,in his first volume of the "Voyage to the Land of the Tarahumara". The content of this work closely resembles the poems of his later days, concerned primarily with the supernatural. Artaud also recorded his horrific withdrawal from heroin upon entering the land of the Tarahumaras. Having deserted his last supply of the drug at a mountainside, he literally had to be hoisted onto his horse, and soon resembled, in his words, "a giant, inflamed gum". Artaud would return to opiates later in life.
In 1937, Artaud returned to France where he obtained a walking stick of knotted wood that once belonged to Jesus Christ. After his return, he dedicated himself writing his best known work: "the theater and its double" which contains the manifesto: "Theater of Cruelty" from which I drew my inspiration for this set.
Teatro de crueldad
La vida en sí misma no es una solución, la vida no tiene ninguna clase de existencia elegida, consentida, determinada. No es más que una serie de apetitos y de fuerzas adversas, de pequeñas contradicciones que alcanzan su fin o abortan siguiendo las circunstancias de un azar odioso. El mal, como el genio, como la locura, se encuentra instalado de manera desigual en cada hombre. Tanto el bien como el mal son el producto de las circunstancias y de un sentimiento que se potencia hacia algo más o menos activo.
Es ciertamente abyecto ser creado, vivir y sentirse irreductiblemente determinado hasta en los menores reductos, hasta en las ramificaciones más impensadas de su ser. Después de todo no somos más que árboles y probablemente esté inscripto en un recodo cualquiera del árbol de mi raza que algún día me mataré."
Antonin Artaud
*the hammer is not visible for it was edited out, the concept arose from a discussion held at a university /nameless/ in 1976, where pamphlets were handed out promoting the joining to the communist party.
*Blue Ocean" the title of a samba from the 70's, a favorite of a departed friend; painted in the style and her favorite colors of a painting I did in acrylics on canvas at that time with same title. This is not a copy but is done in the same spirit of my early "abstract" works.
For those interested in music, was able to find a beautiful rendering on You Tube:" Mar Azul - Cesaria Evora & Marisa Monte", it is best seen on black
gesso covered cardboard silhouette cutout standee, acrylics painted and seated on a vintage lawn bench..
These paintings are part of my new series of tableaus set in "living rooms". a term used to describe artists studios where artists actually "lived" unlike those of to-day where artists just go to paint.
p.s. when completed, Velez will actually be seated in a interior on a sofa.
*the fear of getting out of bed to face the ever more threatening world outside of one' bed. What so many artists call "medo" or in medical terms: "miedo"
p.s. there is no cure for it.
*literally translated to: "between us" or "getting comfortable" never a good idea for the bulls learn quickly and just when you least expect it will raise their heads as they pass by you.
*lge, format, painted on gesso covered plywood, best seen on black. This painting was done after seeing Gregorio perform his slowest "Veronica" of his professional career, on 16mm, 40 year old film which I am converting to stills with hopes of publishing my own B.W. photograph book titled: "Tauromaqia" using above for my cover.