art objects - HUGO ORTEGA LOPEZ: assemblage

Showing posts with label assemblage. Show all posts

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.

pexiglass and print

The ¨plexis¨are a series of assemblages that emerged from a printer running out of ink, scrap plexiglass and other small waste office supplies.

boxes: obsidian & handmade paper

The samples that resulted from technical explorations of handmade pulp paper, and the fascination with obsidian, volcanic glass, emerge as new compositions in a on camera simulation of how I play with materials. The marker lines were drawn on the glass to add aesthetic value to its protective function. This lines evolved from the stitching I used to put collages together.

cartography 1

1996 collection: private

cartography 2

1996 collection: artist

passion for red

1996 collection: Ma. Lourdes Garduño

compuertas

1996 collection: Dan Brimberg

red knife, 1995

Triptich: burlap, old upholstery vinyl, house paint, and found knife.

"Ala" (wing)

This series emerged after the MFA thesis exhibition as a compositional exploration with "animals" and stitching over solid color textiles with a minimalistic sense.

Ala, 1995, 12" x 9"

Ala 2, 1995, 12" x 9"

Later on the wing became a tryptich in 1996.

Ala, 1996, " 18" x 36" aprox.
c:: Ivette Lopez Ruiz

MFA thesis exhibition SCAD

Untitled, 1996, natural felted wool, burlap, housepaint, window screen, 36" x 42".

Untitled, 1996, fur collar, burlap, housepaint, 36" x 72".

Untitled, 1996, ram's skull with horns, burlap, wood and housepaint, 36" x 72".

Getting acquainted, dyptich, 1994

Handwoven fabric, paper mache, wood frame, acrylic.
Created during a residency, in the summer of 1994, at Peters Valley Craft Center in Layton, New Jersey.

Desembarque

Desembarque is the last tapestry I wove. It was done in hand dye sisal, glass, mirror and iron structure. It measures 200 cm x 200 cm x 50 cm. It was created for an exhibition celebrating the 500 years of the discovery of America.

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.