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I started constructing these objects because I always saw the surface of the paintings as a skin full of vitality and history rather than as a poderosamente fragiles, empty space open and ready to absorb my mark making.

I wanted to poderosamente fragiles, pull, stretch, wrap and twist the surface while I simultaneously applied color and line.

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poderosamente fragiles The intertwining of the materials with the surface reveals the tension between the two. That tension is generative within the painting process but also connects poderosamente fragiles to the stuff of real life, to the human body and to the body of the landscape surrounding it.

Both my paintings and sculptures evolve over time.

Each layer continuously changes my perception of the whole. I have to shift, look, think poderosamente fragiles feel and then respond. Over time certain concepts and narratives becomes apparent. Stories, personal experiences, political events, and memories become apparent and in turn affect my formal decisions.

Does any of this resonate with you? Your paintings feel very poderosamente fragiles to me?

The Conversation

How important is the city for you and all the marks that people leave poderosamente fragiles its surface? Besides working in Los Angeles now, I understand that you created paintings here last year and that you created more in Mexico City earlier this year.

What is the difference between working for a month or so in a foreign city and working in Buenos Aires? I also see that you paint on wood panel and paper. How do you choose surfaces to work poderosamente fragiles I started working there over six years ago making prints in close collaboration with the printers.

Undermining and - Spanish translation – Linguee

I developed an intensely personal and creative relationship with the people there. It was I think inevitable that my printmaking and sculptural interest evolved into the current works.

The sculptures are connected to the place in very direct way, since poderosamente fragiles of poderosamente fragiles material elements are gathered and recycled from debris in the area.

Graphicstudio is more than a place to me.

PODEROSAMENTE FRAGILES DOWNLOAD

Working with others breaks down my habits of thinking poderosamente fragiles making. I am myself and not…I feel stronger and yet more vulnerable.

I start out by collecting materials and assembling the armature with the help of the poderosamente fragiles assistant. I produce plates for each piece in order to generate collage material for each individual sculpture using a range of printmaking techniques.

The brush touches the canvas, but the cut penetrates the surface and destroys the illusion and so do your fingers.

Poderosamente fragiles pdf merge

I started constructing these objects because I always saw the surface of the paintings as a skin full of vitality and history poderosamente fragiles than as a poderosamente fragiles, empty space open and ready to absorb my mark making.

I wanted to hold, pull, stretch, wrap and twist the surface while I simultaneously applied color and line.

The intertwining poderosamente fragiles the materials with the surface reveals the tension between the two. That tension is generative within the painting process poderosamente fragiles also connects me to the stuff of real life, to the human body and to the body of the landscape surrounding it.

Héroes cotidianos: Descubre el valor que llevas dentro

Poderosamente fragiles my paintings and sculptures evolve over time. Each layer continuously changes my perception of the whole. I have to shift, look, think and feel and then respond.