art objects - HUGO ORTEGA LOPEZ: 2007

the ovals

WATER TANK IN RED LANSCAPE, 2007, 36"x 36"

untitled. ¨TABLE TOP BALANCE TOY, 36"x 36"

TRICYCLE, 2007, 36"x 36"

c:: Allison Ewing

architecture...Bunkers and Houses

Oil paintings on "caobilla" thin plywood measuring 36 by 36 inches.

HOUSE WITH RED ENTRANCE, 2007, 36" x 36"

HOUSE WITH GREEN TREE, 2007, 36" x 36"

HOUSE WITH FRUIT TREE, 2007, 36" x 36"

BUNKER, TREE AT BALCONY, 2007, 36" x 36"

PATTERNS OF MOTION

Repetitive forms in drawing and painting. Various dimensions, maximum with 24 inches.

col:: Adaisa Munguia & Pedro Gutierrez

THE DRAGON FLY, THE INFINITE SYMBOL, 2006
four panels 20" x 20"

folded drawings

The drawings were recetny redesicovered, porbably, they date from around 2004. They were sudden exploration of form in a folded piece of thin vellum with oilstick and trupentine, done just to kill anxiety and time.

col:: Adalberto Adame

col:: Adalberto Adame

side tracking on old ideas

The "welcoming turtle" comes alive.

C:: Henry Lange

All the characters become sculptures in iron. The working drawings, burnt and painted,hang behind.

C:: Irene and William Audet

"the reptile", PRIDE, SERENITY AND CONFIDENCE, 2007, 48" x 36"
character based on Baja California's cave paintings.

by the marina

With the intention to go larger in scale, here is a fishing boat by the marina floating on the calm waters. Interpretation of the buyers but the previous pieces had conceptually shaped the rectangular form as a "boat". Also, this composition originated with a drawing of one of the characters, the turtle, of the cave paintings I tried to explore.

Collection: G & G Horning

using the remanents of the local land/seascape

The composition structure of the previous paintings shifted from two elements, side by side, to one body taking all the attention. Maybe a result of the brief explorations in rectangular formats. Or maybe due to a a small angle shift in the perspective. From looking in between two, no the focus is on the personality of one.

URCHING IN PINK, 2007, 12" x 12"

The precedents, brief assemblage gestures with found objects and minimum paint, 5" x 10" and 5" x 4".

Brief assemblage gestures with found objects and minimum paint.

shifting form

The composition of "in proximity" becomes AT DISTANCE in 2006, 12" X 12".

in proximity CSL

The continuity of this series and the presence of new surroundings, a growing town by the sea--Cabo San Lucas, brings back found materials (abandoned in 1998)into the composition. All collage and oil on plywood, 12" X 12".

2006 collection: John Miller

2006 collection: G & G Horning

brief bio

Born in 1965 in Mexico City, my interest in aesthetics and composition sparked here and there during childhood and adolescence. My commitment to the production of art and non-functional objects, heavily influence by an abstract mathematical perspective, develop during my undergraduate studies in Industrial Design at the “Universidad Autónoma Metropolitana” in Mexico. In 1993, with a Fulbright scholarship I pursued a Masters in Fine Arts, Fiber Arts, at the Savannah College of Art and Design where I was recipient of the Outstanding Graduate Student Award. There, my creative process mutated from a detailed time consuming textile constructions into an immediate expressive act of mixed media acrylic paintings. After graduation I returned to Mexico where I continued my professional career as a designer, educator and assemblage artist. In 1999 I was awarded with a second Fulbright scholarship to pursue doctoral studies in Art and Art Education at Teachers College Columbia University, in New York City. There, my doctoral investigations have been shaped by what happens in and through studio practice. Currently, my studio practice emerges from the exploration and manipulation of limited material resources. The creative process is based on reiterative cycles of composition in an attempt to evolve artistic forms through a philosophy of proximity and implementation. The strategies of action remain the same across mediums and everyday events.