Tag: Symbols

Kites

Kites are transitioning from Earth to the sky, communication waves. It is a source of releasing our thinking into a creative mindset about expression. Each pattern has six, seven, and eight rectangular forms based on numerology. It points to symbolizing mysticism and spiritual awakening.
The red kites represent change, curiosity, freedom, and adaptability. Reaching the top beyond creates a universe of possibilities. Out there is a vast and quiet world; we long for that peace inside us, away from greed.

Green brings us back to Earth in the forest, and the cord is the connection, for it beholds our soul. It is our curiosity to unveil what’s beyond up there. But then we know our presage is short due to the space chemicals. In the chaos, we have left our institution to go with the spiritual and think of a different portal for a different life. Curiosity is strength, and control is our character. An alerting thought with penitent consequences. Still then again, we fear uncertainty, and the cycle repeats above us.

The kites nurture our souls, reaching prolonged moments that are insatiable. Running away from the cold winter, they disappear and glow in line but then loosen and wave at a time, our life. Nothing is the same. Everything changes. In the end, it does not stay permanent. It is part of our life to fluctuate from one place to another. In short, accepting it makes us receptive and allows us to make mistakes and others the same. Once learned, most transitions fluctuate, just as in this watercolor. There are a lot of kites scraping, and it presages into the unknown.

Kites 14″ x 17″ watercolor 2025

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Tags Dynamic art, Patterns in Art, Symbols

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La Pinata

The pattern’s journey turned into ideas; this was and is a concept in development, and the idea’s impression still exists. The problematic problems of the world without a solution are a never-ending story. It is a painting with political content. In analyzing this painting, the pinata is the peasant hit by the masked person and represents the devil. It is part of a procession that goes back to medieval times and ancient times by pagans.

It all means by what point of view we want to interpret. Here, the Pinata is in front of the church. Mock rings at the religious in high positions and from being unable to fix the problems. The clown, a significant figure in the painting, is an extension of the social commentary. The people celebrate the food that may come from within. Also, it represents the politicians of high rank who often benefit from the suffering of the peasants.

Inside the creative process, my assistant made a few sketches of mine at my request to work on this idea. Then, I recollected old churches from my pictures and sketches from Ecuador. The Pinata is everywhere in Brooklyn Knickerbocker. There is a Mexican party market where I got my model. I covered his eyes to recreate unawareness toward their people and social bias happening in society. However, it was not as colorful and full of vitality as this one. Moreover, this Pinata and many other series were exhibited at Lehman College as part of my thesis. And nonetheless, a student commented that I repeated the same scene in different views, and I said that it was precisely a series.

All along, the concepts take different paths, such as other points of view in various scenarios. In short, the colors did not change; indeed, they became better and dazzling.

LA PINATA

La Pinata

Oil on Canvas 34″ x 34″

Tags Patterns in Art, Symbols

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The Trap II

The Trap II is an image of life experiences, a time of discovery. Although, at times, painful, it reflects a good time now. Out of bad situations, sound comes out. In the trap, the bamboo wall separates two individuals by their emotions. The end of innocence is a distinct separation. Our instincts prove that our mind advises us that it is time to leave. Easy to say, difficult to move on. Adversity turns us into our worst enemy. It glooms over us and makes us feel like we are moving nowhere. But as years pass, we heal emotionally firmly, embracing our reality. Going back to those times is rewarding. Our souls become a shield where nothing is left of that fragile person we were.

The Trap II was born in a week of spontaneity in Florida. The bamboo wall, with its myriads of gray and blue tonalities, emerged without the need for intricate details, a testament to its creation’s raw, unfiltered nature.
Moreover, there was a palpable sense of freedom in the air, a feeling that I was charting my own course. This independence did not hinder me from bringing this subject to life.
As intricate as the pebbles on the ground may appear, I meticulously crafted them in three distinct tones: the top, a light brown; the front, a blend of brown and blue, where a reflective light dances; a shadow, of deep, grounding brown. Shapes evoke a sense of movement.
The place is in Ecuador, where I grew up, and I go there every summertime vacation. It is close to the Ocean, not exactly a place where you can swim. In short, is suitable for enjoying.

“The Trap II” Size 50″ x 35″ Oil on Canvas 1997

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Tags Symbols

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