art objects - HUGO ORTEGA LOPEZ

windows 12-05

These pieces are part of the work that develop the "in proximity" series. The two adjacent shapes start to define. The are oils of 15 cm by 15 cm in 1/2 inch plywood.

C:: Tica Alvarez

C:: Tica Alvarez

C:: Tica Alvarez

Artist collection

daily still lifes, 2005

Small oils on plywood (4 by 6 inches) reflecting upon breakfast time and the necessary igredients and gadgets to enjoy it.

C:: Kim Brockinton

C:: Daniel Rubin

in proximity

a series of oil paintings on 3/4 plywood measuring 30 x 30 cm. They emerged from the exploration of color lines that recapture my textile tradition, looms, warps, plaids.

private collection

private collection

2004 collection: Jeff Frank

2005 collection: George & Ginny Horning

2005 collection: Joy Moser

2005-2006 collection: John Miller

the origin of "in proximity"

Three of many small explorations, measuring around 3 by 5 inches, later becomes "the painting" a blue print for the series "in proximity".

2004 collection: Scott Howe

2004 collection: Daniel Serig

three large drawings, 2003

charcoal drawing on poster paper, 115 x 100 cm

EMBRACE, 2003

EL PENSADOR

C:: Daniel Langarica

PECHOS

C:: Artist

the apples

intimate moments -drawings

These drawings were done on blue paper with soft pastels and charcoal, 60 cm X 50 cm, in 2002. There were part of 12 similar drawings included in the doctoral exhibition. Teachers College Columbia University bought eight of them and are permanently exhibited in one of their auditoriums, Grace Dodge 177.

sequence

gestation

family

family 2

after the meeting

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.

HB drawings

A commission by Helen Bostoen, for a gift, generated this series of drawings.

2001 collection of the artist

2001 private collection

2001 private collection

2001 c: Dora Ortega

2001 c: Verónica Ortega

Explorations with printmaking

An image that emerged from the visua exploration of popcorn shapes was synthesized to produce a clean image for printmaking. This etching was done in plexiglass which only made possible to produce around 15 prints. Except for the first print, aptly named ¨primogénito¨, the first born, the rest are hand colored. In the last one the red background is cut out paper applied during the process of printing.

primogénito

tug

on the flesh

on and off

incidental marks

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.