el riomar

The End of Summer

2012-01-23T04:44:00.000-05:00

Last year I sat in on a print making class taught by Jean Dibble at the University of Notre Dame. I wanted to learn a bit about bookmaking and the use of a letterpress. I also wanted to attempt some broadsides on the Vandercook press the shop has. As I thought about what text I would use for this experiment I wondered if any pals that are much more adept at word play then myself would be up to lending me some of their work. I sent out a few emails and my friend the writer and teacher, Bret Anthony Johnston was the first to respond. We were both very excited at the possibilities of collaborating on something.

Bret sent me two of his short pieces, one 340 words the other 720. I primarily chose the 340 word short story “The End of Summer” because of time constraints and my worries that I would probably mess something up on my first attempt at this process. Secondly, I really responded to Bret’s characters and the way he played the teenage relationship out in such a short amount of space.Trying to pick what image to represent the story was the easiest part of the process. I read through the story many times trying to just submerge it into my thinking. The fingers on the back seemed like an easy choice but I kept wandering back to the image of the coyote barking at the ocean waves. I don’t think I had ever thought of a coyote near an ocean. Maybe a river or stream. The image stuck so I went with that.

The limited type resources in the shop created many opportunities for me to diverge from any plan of what I thought the finished piece might look like. As I began to lay the type for the text I became concerned about having enough type in the same font style to set the whole story out at once. First there wasn’t enough “b” type so I figured out a way to use “q’s”, then there weren’t enough capital letters but I found enough in a different font to cover, later I wasn’t happy with the “b” solution but somehow was able to dig up enough “b’s” to finish the story…

Paper considerations were another aspect I hadn’t thought much about. Luckily, a friend had recommended Mohawk Super Fine paper for printing so I ordered a batch and used that for printing. The white of the paper is pretty bright and the ink just seemed to lay perfectly into it. At some point I also pulled some strange rippled dark brown stock of paper a studio mate had left me just to see what the contrast would do. I ended up liking the way the dark paper changed the feel of the broadside giving it a more somber tone. I printed up a few extra prints on this paper just for kicks. In the end it all worked out perfectly. Bret was pretty impressed with the outcome and we’re looking forward to collaborating some more in the near future. If you are interested in purchasing one of these broadsides signed by Bret and myself contact Bret through his website.

Caritas: The Immigrant in the Word print series

2012-01-16T04:44:00.000-05:00

The paper I proposed for Inter-University Program for Latino Research’s conference, SIGLO XXI: Forging the Future of Latinos in a Time of Crisis, was accepted. I will be flying to NYC to present on a panel which will take place at John Jay College of Criminal Justice, CUNY in New York on February 23rd. My fellow panelists will be: Henry Rivera, Arizona State Senate Bill 1070Daniel Eduardo Martinez & Jeremy Slack, The Migrant Border Crossing Study: New Evidence of the Unauthorized Crossing Experience through the Arizona-Sonora Border

My paper is entitled “Caritas: The Immigrant in the Word” which is the title I gave to the latest series of relief prints. The print series combines passages from books of the Bible with images of contemporary immigrant issues such as rights abuses due to legislation.

This 6 print series began with a print I created for the Consejo Grafico’s portfolio entitled “Borrando la Raya/Erasing the Line”. The portfolio consisted of images dealing with immigration issues. My contribution was a 9 x 13” color linoleum block print entitled “Fallecio el Señor Urbano Ramirez” (Mr. Urbano Ramirez died).

The idea for the image came about after I heard Mr. Baldemar Velazquez, President of Farm Labor Organizing Committee (FLOC) speak in 2009 at an award ceremony honoring my father, Maximino Rodriguez, with the Cesar Chavez Tri-Community Award. Mr. Velazquez told the shocking but now all to common story of farmworker, Urbano Ramirez Miranda, who died in a field in North Carolina and was not found until 10 days later. Undocumented = cheap & expendable labor.

Within his talk Mr. Velazquez, an ordained chaplain, spoke of his search through the bible for passages that deal with the treatment of the alien/immigrant among other people. He found three passages that spoke to this subject - Exodus 22:21, Numbers 15:15, and the one of which I chose to use as a footer to the image. The passage is from Leviticus 19:34 “The alien living with you must be treated as one of your native born.” The print and quotes inspired me to create prints marrying the remaining passages with powerful images to make an impact on those that profess charity through their religion yet ignore the written word’s suggestions.I have expanded on the three passages with a few more for a total of six passages and images.

Exchange

2012-01-04T04:44:00.000-05:00

My 1993 oil painting "Exchange" is gracing the cover of Austin musician, Adrian Benavides's new album "Same Time Next Life" set for release in June 2012. I'm pretty psyched to be included in the mix with these quality musicians.

Collaborative Printing

2011-12-16T04:00:00.000-05:00

I’ve spent a week and a half collaborating with Joe Segura’s print class to create a new four color lithograph. I used one of the images I’ve been working up for a linoleum print version for the “Immigrant in the Word” series. The look I was going for was to mimic the old “Dick and Jane” reader style illustrations and primary color scheme. I had to work fast to draw up the four plates so the class could print and finish before the end of the semester. I’m pretty happy with the results. I’m not sure if I will include the color version with the series yet.

Recycling the Dead

2011-10-26T10:16:00.000-04:00

I'll be giving a talk at Harold Washington College in Chicago, IL on November 3rd entitled "Recycling the Dead". Public is welcome.

Navigating the Currents

2011-09-02T01:44:00.000-04:00

I volunteered to make a print for Inkteraction’s Navigating the Currents: 100 Inkteraction Reactions portfolio. My idea is pretty simple: a printmaker carrying a heavy roller through a binary marsh of 1s and 0s.

This print's requirements were for a smaller 5x7” sheet of paper so the image is pretty small. I chose to further explore color reduction relief printing with my snazzy new registration system. This time I went for a cooler palette than the previous two prints.

(1st & 2nd color layers)

I don't know if it is the changes in humidity or my new block prep that have affected ink layering in a positive manner. In prepping to ink up this block I scraped down the linoleum with the side of a razor. The “La Vida Dulce II” print had some inconsistent ink layers due to what I think was the factory texture of the lino block. Each successive layer of ink picked up on the texture of the layer below and compounded the “orange peel” texture where I had intended flat areas. Of course I rolled with it and used the texture to some advantage but I wanted to avoid this in the future. I believe the shaving/planing of the block prior to inking led to a more even and flat layer of ink.Four layers of blue were laid down to create the print. I debated adding a finishing black line layer. In the end I like the all blue palette.

La Vida Dulce take 2

2011-08-24T16:44:00.002-04:00

I ordered a new registration system and decided to take another stab at the reduction print at the correct size. I restructured the drawing a bit from the first smaller print.

First color proof, second color block and proof:

The over lay of second color on first:

The third color proof, third color block and third color overlay:

The reduced fourth color block and printed overlay:

The fourth color overlay, fifth color block (now greatly reduced) and the final 5th color overlay:

Finished prints hung to dry:

For comparison, La Vida Dulce I (3 colors) and La Vida Dulce II (five colors).

Reduction print (pt.2)

2011-07-26T04:44:00.003-04:00

I decided to continue printing the reduction print on the wrong size paper. I'll just have to do another one on the right size paper later. Here is the second color run.

Here is the first color state, second color state and the second color on it's own for comparison.

Here is the third and maybe last color run and the block much reduced.

Reduction print

2011-07-22T04:44:00.006-04:00

I’ve got a few pans in the fire.

One: I’ve agreed to make a print for the Inkteraction print exchange with the theme “Navigating Currents: 100 Inkteraction Reactions” due at the end of September. Two: I’ve also been asked by Carlos Barberena and Calaca Press to contribute a print to the “Calacas” themed International Print Exchange. Three: I have a few possible commissions I need to think about.

I’ve decided to try my hand at a reduction relief print for at least one of these portfolio exchanges. I haven’t attempted a reduction print since I was 15 years old and made a 4 color print of Freddie Mercury for my high school art class.

A reduction print is a multi-colored print that is created using one block. Each color is printed in sequentially, usually light to dark. You can start by printing the whole block as a base tone for the print or remove some of the block before inking thereby leaving some of the paper exposed as a base or highlight. Before the second run of color more of the block is removed ("reducing" the block)which leaves some of the first color printed (and paper) exposed wherever the block has now been cut away. This process is repeated until the final color state, sometimes a black but not necessarily so, is printed. The block is destroyed in the process, therefore it is not possible to go back a step and re-do a state. Obviously a little pre-planning and a good registration system is in order for a successful print.

The idea for the Calaca theme came quickly – a variation of something I’ve wanted to do for a while now. First I drew a color sketch then I transferred the image to a block. Next I decided what areas were going to be left white (the color of my paper) and cut those areas away. Next I printed the yellow base color… Then I realized I had used the wrong size paper to print this edition….!!!! (to be continued)

Late night

2011-05-11T04:44:00.002-04:00

Feliz 82 'Apa.

The exhibit at South Bend Christian Reformed Church opens this Friday. I’ve been putting in long days and late nights lately. It always seems to come to this right before an exhibit. Always just a few more prints or finishing touches needing to be taken care of. Selecting prints that are appropriate with this venue has gotten me thinking. Re-conceptualizing a varied group of works into a compatible whole is always good. I also took this opportunity to actualize an idea for prints that has been brewing for a while. The church function of this particular exhibition venue made me want to bring the images forth to see how they do.

The show still hasn’t been laid out (in fact I just finished printing this morning and am due to help my wife frame up the remaining pieces tonight) but I have an idea of how the work will be broken up into four sections. Each section bleeds into the others at times but they’ll go something like this - section one: the family relationship prints; section two: the dreamscape prints (hopes/fears); section three: the world-view (The inkling for this series was ignited at a reception for my father.); section four: nature. We’ll see how this plan holds up when installation time rolls around.

Late nights at the studio always mean something else has to be left undone or for someone else to take care of. I’m grateful to my best friend and supporter – my wife, Laurie, for all she does everyday and especially when exhibit time rolls around. Te amo.

Prints @ SBCRC

2011-05-03T16:44:00.000-04:00

Reception May 13, 2011 from 5 - 7 p.m.

Happenings

2011-04-04T04:44:00.002-04:00

I have been asked to present a short power point on my work at Holy Cross College's Arts Day Salon on April 15th.

I have a small exhibit opening at South Bend Christian Reformed Church on May 13th at 5:00 p.m.

I'm working on some new relief prints.

Birds of a feather

2011-02-25T16:44:00.004-05:00

I conducted a 6 week printing workshop with Jr. High students at Good Shepherd Montessori School. Art Specialist, Ms. Rousseau and Guide, Miss Hoipkemier assisted. In preparation for creating a print the students first visited the Snite Museum of Art at the University of Notre Dame to see examples of various relief prints selected from the Snite’s vast collection. Through the prints students were able to see firsthand examples of techniques in mark making and subject matter to further enhance their own image making potential. The next five weeks allowed the students to draw, carve out, and print editions of their linoleum block images.

Birds of Indiana were selected as subject matter for the prints the students and I would create. I believe that a personal connection with a project resonates truer with the creator, as well as, the audience. GSMS's students' farm experience has contributed to their knowledge of the local environment. Each participating student chose a different bird that is commonly seen around their state.

GSMS also commissioned me to create a work that the school can give as an award at this year's annual benefit. This year’s award recipient is partial to the Great Blue Heron so I chose to print a 12 x 12” image in addition to my smaller class room demo entitled “Great Blue”. Because the award honors a community leader for their commitment to improving the lives of children in the Michiana community I included some of the students’ work alongside my own. Therefore, the finished composition “Birds of Indiana” consists of my own depiction of a Great Blue Heron bracketed by prints of six other birds familiar in our home state – Purple Martin, Snow Goose, Mallard, House Wren, Loon, and the Woodpecker each created by – Jace, Izzy, Laurel, Olivia, Robin, and Jonathan respectively. These prints were collectively printed in my studio with the press. I liked the look of the works all together so much that I decided to print a small edition of just the smaller student blocks along side with my own, Ms Rousseau's and Miss Hoipkemier's.

2011

2011-01-11T16:44:00.003-05:00

The studio is buzzing with a few new collaborations. First up, my two little apprentices. I took a couple of drawings from my sons’ sketchbooks, added a few flourishes, cut and printed the resulting images on some t-shirts with my press. Hoping to continue these experiments in the new year.

I’ve volunteered to teach a 6 week class on relief printing to a few of the Jr. High students at Good Shepherd Montessori. We’re hoping to have a collaborative print made including images from each of the students, Laurie Rousseau and myself.

We’re hoping to tighten things up with the Consejo Grafico this year. We’re planning exhibits of the two portfolios created by the group and some organizational meetings for this spring and summer.

At home it's been deja-vu. The Lightboy has developed a taste for Queen and discovered the wonderful wacky genius of Don Martin cartoons.

The Don Martin interest started with the Mad Magazine Don Martin collection I got for Xmas. The Queen interest started after hearing the Fresh Air interview with Brian May. "That's a unique guitar sound." I remember being his age sitting in our living room reading Mad Magazine, drawing and listening to my older brothers' record collection. I eventually made the transition from listening nonstop to the Beatles to Queen. It's like history repeating itself seeing him doing the same. He’s particularly interested in Brian May’s unique layered guitar sound and the vocal gymnastics of Freddie and the band.

Synchronous event: While cleaning out the basement studio the same day we heard the Brian May interview in the car, I found the very first concert T-shirt I owned – a bootleg Queen t-shirt I bought at my very first concert for $10.

Art Walk South Bend 2010

2010-12-03T04:44:00.001-05:00

Our studios are on the South Bend Art Walk tour. Stop by and get your stockings stuffed.

LA La La Latino Art Now!

2010-11-09T16:44:00.001-05:00

I'm headed to Los Angeles to take in Latino Art Now! conference. Follow the link for details and format then come and join the discussion.

Hoping to connect with some friends as well.

La Luna Mariposa

2010-11-03T04:44:00.003-04:00

The new limited edition lithograph, "La Luna Mariposa" is available for sale. $100 a print. Printed on Arches buff 20 x 15" paper. The edition of twenty eight prints was split with IUSB. I have 13 remaining to be sold on my end. Get them while they're hot. Email me @ info@ramirorodriguez.com if you would like to own one.

UPDATE: 11/16/2010 Ten (10) prints left. Get 'em while they're hot!

La Luna Mariposa

2010-10-25T04:44:00.004-04:00

Last Thursday Joe Segura and Alan Larkin printed up the orange layer for the Mariposa print in preparation for the demo at IUSB. Friday Joe and Alan etched the black plate and printed over the orange base they had printed the day before.

During some of the drying times Joe showed examples of prints his publishing company, Segura Publishing Company, has printed. I showed a few of my relief prints and talked about the ideas that lead up to the image for “Luna Mariposa.” We had a pretty good turnout and the students asked good questions about collaboration, techniques, inspiration, and shop safety.

I’m pretty happy with the results. I still have to go back to edition and sign the prints before they are available for purchase.

Dirty Printmaking

2010-10-24T04:44:00.001-04:00

Wednesday I finished printing up my newest woodblock relief print for the Dirty Printmakers of America’s “State of the States” portfolio. The new print is titled “Toma, Tomas.”

Walls and Plates

2010-10-13T04:44:00.001-04:00

The wall was completed on October 2 (Feliz Cumpleaños Ama). We’re just waiting on the print framing to be completed so that we can hang them in their spots (the white paper in the pictures). I’m really happy with the outcome of this wall. Thanks to Dolores and Gil for the opportunity to create this piece in their home.

I have been drawing on a couple of litho plates for a demonstration at Indiana University South Bend (details below). IUSB had asked for an image with a Dia de los Muertos theme. I had originally intended to create a different image for the print. However, working on the Luna Mariposa on the wall inspired me to rework the image in lithographic form. The print will be in orange and black which means I have drawn up two plates – one for each color.

(below is part of the press release info)

Demonstration of aluminum plate lithography and the collaborative process in printmaking.
9:30 – 12:30 Friday October 22nd 2010
in the IUSB printmaking workshop
room 101 in the Fine Arts Building

Indiana University welcomes Joe Segura and Ramiro Rodriguez to the printmaking shop on Friday October 22nd for a morning workshop on aluminum plate lithography. Segura and Rodriguez will collaborate to produce a two color lithograph drawn by Rodriguez celebrating the Day of the Dead. The workshop will highlight both the technology of the process as well as reveal the methodology of a printmaker and artist functioning in a collaborative manner. Examples of the work of both artists will be a major part of this presentation.
All students and guests are welcome.

The dragon, the tree and the wall

2010-09-29T04:44:00.000-04:00

Another patron has purchased a suite of the Earth Dragon prints. This is the suite of prints pulled from the coffin I created for my installation "Cuentos y Memoria" in 2007.

This print has become a bit of a challenge to frame and exhibit because of it’s 18” x 16’ length. The solution has been to frame up the prints in 4 sections - the three “head” portions of the print in one frame, the two 54” long side prints and the “tree of life/tail” sections separately.

While working out framing logistics and placement options the couple asked if I would be interested in painting some elements from the print designs onto a stairway wall in their home somewhat like what I did in Omaha last year. Here is what the wall looks like after two nights of working on it. The white rectangles are where the framed prints will be hanging.

"Centenario de la Revolucion Mexicana" @ Mexic-Arte

2010-09-22T08:08:00.006-04:00

My print "Tierra y Libertad? 1910-2010" will be exhibited along with the rest of the prints in the "Centenario de la Revolucion Mexicana" (Centennial of the Mexican Revolution) portfolio at Mexic-Arte Museum in Austin, Texas. The portfolio is being shown as part of the museum's exhibit "Promises of Independence and Revolution: Artists Interpreting Mexico" September 25 through November 21, 2010.

Tierra y Libertad?

2010-07-21T13:04:00.010-04:00

My friend, Rene Arceo, invited me to participate in a print portfolio he is putting together. The theme is celebrating the centennial of the Mexican Revolution. Twenty five printmakers from the USA and Mexico will be participating.

My woodblock relief print will represent the idea of "the more things change, the more they stay the same." The image shows a modern day Emilano Zapata, hoe and corn seed in hand, standing in a field of corn while cobs rain down from the sky. I wanted to speak on the fight against big foreign seed companies that have potential to contaminate the indigenous corn strains with their gmo seeds. This in the land where corn was first domesticated. With this invasion the companies have the power to "steal" the modern Mexican farmers' way of life just as the big hacienda owners did a century ago.

3rd Ward : Ramiro Rodriguez

2010-07-09T14:17:00.005-04:00

Please follow this link and vote for my work. Your vote could help me win a $1,000 cash grant and a feature in 3rd Ward's Quarterly Magazine.
You may vote every 24 hours.

3rd Ward : Ramiro Rodriguez

Print and Present

2010-05-04T04:44:00.001-04:00

My little apprentice signed his prints this weekend.

Some of the work I've done for MJK and Tool are going to be on display at The Vicker's Theater in Three Oaks, Michigan to coincide with the Blood Into Wine Screening on May 6th.

45

2010-04-24T00:01:00.000-04:00

Thanks to my parents for inviting me here, showing me love and giving me fabulous brothers and sisters.

Llego la Primavera

2010-04-22T04:44:00.006-04:00

It’s been a while. After my winter exhibition I kinda curled up to re-juvinate. I’ve been coming out of the winter blues and enjoying the spring activities. I’ve been traveling a bit and meeting up with old friends, as well as, making some new ones.

March was Puscifer month. My wife and I were able to catch the Chicago shows and my buddy Al and I made the Milwaukee show as well. In all, I got to see 3 unique versions of the performance and they were all incredible (V-Airline, Country Boner, Religious). MJK and troupe inject the live performances with energy and artistry that is seldom seen these days.

Last week I was invited to attend the NALAC (National Association of Latino Art and Culture) conference in San Jose, California. It was another one of those head exploding experiences. The panels on roles of various art and community projects, leadership, history, and plans for future were very inspiring. The wealth of information from the many people I met will be resonating for quite some time. I hope to incorporate some of that information and relationships in my own work and life.
There were some amazing performances by Susana Baca, Las Krudas, Las Bomberas de la Bahia, Los Soneros del Este, Los Planeros de la 21, Sones de Mexico, Los Cenzontles and the amazing Liza Garza. Some of the personal highlights were: meeting all the great people and artists (esp. Maria Luisa Colmenarez,Carmen Lomas Garza and Gilbert “Magu” Lujan, Las Gallas) attending a glass blowing workshop at BAGI by Jaime Guerrero watching The Royal Chicano Air Force and Tomas Ybarra Frausto receive their lifetime achievement awards and the midnight jam between members of Los Planeros and Sones de Mexico in one of the ballrooms of the Marriott.

Now it’s on to completing the new prints for the portfolios I’ve been invited to participate in, printing some of my little apprentices’ print editions, starting some new paintings and getting the garage studio project back on track.

Print portfolios

2010-03-09T16:44:00.001-05:00

I am participating in three portfolios this year.

Dirty Printmakers of America

Arceo Press

Consejo Grafico

More days in the week please.

Apprentices

2010-02-15T04:44:00.001-05:00

My little apprentices have been busy in the studio making linoleum block prints. They've even gotten some commissions. Can I retire now?

The "Materia Prima" exhibition at Crossroads Gallery closes on Friday (2/19). Where am I going to put all those big paintings now?

Where I'm @

2010-01-26T16:44:00.000-05:00

Pulling down shows
Re-organizing studio space
Grant application
Looking for exhibition ops
Portfolio image pondering
Printing little men’s work
Framing up friends’ artwork for home
Lining up schedules
Figuring taxes

Borrando La Raya/Erasing the Line

2009-12-08T04:44:00.002-05:00

This is a print I have created for the Consejo Grafico’s latest portfolio entitled “Borrando la Raya/Erasing the Line”. The portfolio will consist of images dealing with immigration. My contribution is a 9 x 13” color linoleum block print entitled “Fallecio el Señor Urbano Ramirez” (Mr. Urbano Ramirez died).

The idea for the image came about after I heard Mr. Baldemar Velasquez, President of FLOC (Farm Labor Organizing Committee) speak at an award ceremony honoring my father, Maximino Rodriguez, with the Cesar Chavez Tri-Community Award.

Mr. Velasquez told the shocking but now all to common story of Urbano Ramirez Miranda, who died in a field in North Carolina and was not found until 10 days later. Undocumented = cheap & expendable labor.

Within his talk Mr. Velasquez, an ordained chaplain, spoke of his search through the bible for passages that deal with the treatment of the alien/immigrant among other people. He found three passages that spoke to this subject - Exodus 22;21, Numbers 15;15, and the one of which I chose to use as a footer to the image. The passage is from Leviticus 19:34 “The alien living with you must be treated as one of your native born.”

The portfolio featuring various artists from talleres(printshops) in the Consejo Grafico should be available for sale and exhibition early next year.

Materia Prima

2009-12-01T04:44:00.003-05:00

My exhibit "Materia Prima" opens at the Crossroads Gallery in downtown South Bend, Indiana.
Reception is Friday December 4th from 5-9 p.m.

Crossroads Gallery
217 South Michigan Street
South Bend, IN 46601

The exhibition runs from November 30, 2009 - January 29, 2010.

Update: The show has been extended to run until February 19, 2010.

What's the deal?

2009-11-03T04:44:00.001-05:00

My friends in The Deal With 44 have posted a taste of their debut cd "Fantasy of Phantoms" which features a reconstructed "Arbol de Vida" image on the cover. "Arbol..." is from the Earth Dragon suite of prints taken from the coffin created for my Dia de los Muertos installation.

blld

2009-10-28T04:44:00.007-04:00

My painting "Materia Prima" graces the cover of the latest offering by musicians Markus Reuter and 05Ric (Ric Byer). You can hear some sneak previews at www.myspace.com/blldproject . These images are the working examples and not the final cd cover design.

More winter exhibitions

2009-10-27T04:44:00.004-04:00

I have a couple of exhibitions happening this winter in South Bend, Indiana, USA. Follow the links for place, date and maps.

Oscura: Prints, Drawings and Paintings by Ramiro Rodriguez @ the South Bend Civic Theater Community Gallery. October - December 2009.

Materia Prima: Recent Paintings and Prints by Ramiro Rodriguez @ the Crossroads Gallery in downtown South Bend. November 30, 2009 - January 29, 2010

Dia de los Muertos @ Metropolitan Community College

2009-10-20T04:44:00.001-04:00

This is the end...

2009-10-09T08:52:00.004-04:00

El Huesudo is nearly complete. I rubbed him down with paste wax last night and put all the dowels into place to hold him together. The skull is the last element needing finishing. Still some details to carve and maybe a bit of guilding on the skull cap.

I'm set to drive out to Omaha this weekend. The weather forecast is looking crappy - rain and possibly snow. I hate driving in wet.

Making lists and checking them off. Pooling supplies and backing up digital files for my presentations: one on my work and ofrenda installation and another on exhibit design/art handling. Looks like I'll be doing another interview for a local TV station too.

I may be able to display the full "Earth Dragon Suite" of prints pulled from the coffin. Sixteen feet of continuous print on the wall. I may be doing some painting on the wall to further emphasize the altar.

I'm excited about setting everything up. Adam, from the gallery, tells me the wall should be painted and ready for the altar to be set up when I come in on Monday. The exhibit reception is Thursday the 15th at The Metropolitan Community College
Elkhorn Valley Campus (829 North 204th Street). The exhibit runs 10/15 - 11/15/09.

Skin walker

2009-10-02T04:44:00.001-04:00

I'm finishing up writing and delivering an application for a grant. Fingers crossed.
Working like mad on carving out the wooden skeleton for my Dia de los Muertos installation in Omah, Nebraska. Delivery is the 12th. Yikes!
Work continues on the cd art for the Deal with 44. Deadline is quickly approaching.
Took down "Forma" at Goshen College. Sold a few prints. :)
Picked up the prints from the New Galleries exhibit. Sold one print :) :)
Went to hear Cheech Marin talk about Chicano art and culture.
Was asked to show some prints in the exhibit space at the local civic theater during their run of the Elephant Man. Yes!
Scheduled a solo show for November at the Crossroads Gallery in downtown South Bend, IN. (details to follow...)

Dem Bones

2009-09-21T04:44:00.003-04:00

I’m hoping making these skeletons doesn’t kill me. Days have been spent on the computer reworking the “Arbol de Vida” image for the 44 cd cover. Evenings have been spent in my garage – cutting, rasping, and sanding boards into bone shapes.

The boys kept trying to coax me out onto the lawn for some playtime this weekend. Took a break to visit with friends at a cookout and catch a movie with the boyos. I don’t know whether it was all the sawdust up my nose, allergies or a combination of everything that gave me a near migraine-sized headache last night. Or maybe there is just too much to do.

Tomorrow night I give a talk to the print class at Goshen College.

Tonight I select and wrap up some prints for a print sale at the University of Illinois @ Chicago’s Student Center East on Friday and at the National Museum of Mexican Art on Saturday. Friday and Saturday I also have meetings with the Consejo Grafico.

The Road to the Dead (take 2)

2009-09-11T04:44:00.001-04:00

I'm reworking some of the elements of the Dia de los Muertos installation I showed at the Snite Museum back in 2007. I will be showing the ofrenda installation in Omaha, Nebraska next month. More details to come.

Forma reception

2009-09-08T15:12:00.001-04:00

Follow this link for some photos of the "Forma" installation and reception @ Goshen College, Goshen, Indiana.

Busy, Busy, Busy

2009-09-03T04:44:00.001-04:00

I painted the newly carved skeleton limbs for the coffin base last night. I'm still working on a new "huesudo" to go inside the box.

I have works showing in three different galleries that are having openings/receptions this weekend. I have a few prints in a group show at the New Galleries on Lincolnway West in South Bend, Indiana. I have the small color prints on view in Buchanan, MI @ Thomas Jolly Home and Garden for the "Non-Pareil" this Saturday (9/5). And don't forget my reception at Goshen College for "Forma".

Here is the press release for "Off the Press":

First Friday Opening Reception

September 4 from 5pm to 9pm
Exhibit continues through September 26

Gallery 807

"Off the Press"
featuring recent works by regional printmakers

Etchings, Lithographs, Silkscreen, Intaglio, Linoleum & Woodblock Cuts,
Aquatints, Monoprints, and Solar Prints

Alan Larkin, Diane Tesler, Lea Goldman, Ramiro Rodriguez,
Julie Tourtilotte, William Tourtillotte,
Jackie Welsh, Bonita Bent Nelson, James Deeb, Linda Rivera,
Philip Monteith, Kathee Kiesselbach,
Ken General, Nick Donovan, Bradley Davenport

Gallery 805

Northern Indiana Pastel Society Members
Donna J. Chambers, Robert Williams, Sandra Goodrich

Northern Indiana Artists Members
William Healy, Daniel Slattery, Joseph Schultz, Thomas Tooley

St. Joe Valley Watercolor Society Member
Ardyce Kreider

Gallery Artists
Barbara De Leu, Erin Warner, Lea Goldman,
Norma Helm, Ann Jagla, Mona Witt, Tim Grieb,
Joe Ruthrauff, Joanne Kiester, Maryart

New Galleries on Lincoln Way West is a proud participant in
Downtown South Bend's First Fridays Event.

Prepping

2009-08-31T04:44:00.001-04:00

Lot’s of prepping and less art making. But it’s got to be done.

Delivered prints to a print show in South Bend @ The New Galleries on Lincoln Way West. Delivering prints to Buchanan, MI for an art walk next weekend. Preparing prints for the Art Fair @ The University of Illinois and the National Museum of Mexican Art in Chicago on September 25 and 26 as part of IUPLR’s Siglo XXI Conference.

I’ve been asked to try my hand at some cd art by my friends in the band The Deal With 44. Working on reworking an existing work to meet the bands needs.

Got a great idea on how to display the Earth Dragon Coffin in Nebraska. I’m busy creating modified papier-maché skeletons and gathering the necessary materials for the installation. This weekend I carved arms and legs out of 2x4” pine. I explained the concept to the Lightboy and he gave a little cringe. I asked him if he thought it was a good idea and he wisely answered “You have to do what you feel is right.”

It was a weekend of visits as well. My eldest brother stopped by and was instantly recruited by the boys for a game of baseball and wrestling. One of my youngest sisters and her family came by to visit and see my exhibit at Goshen College as well.

Just hanging...

2009-08-21T16:44:00.000-04:00

Just hanging ...and not in a non-stressful way. I've been hanging art at work, hanging art at friend's homes, and getting ready to hang my work in Goshen, Indiana.

Realizing just how handy the ol' mini-van was now that I have to make several trips in the Honda to deliver the work. That or break down and rent a van for a day.

I feel good about the show though most of the work has been shown before. I hope someone actually shows up to see it.

Here's a link for the show, gallery hours and map.

The kindness of...amigos

2009-08-12T04:44:00.002-04:00

My wife and I lent our boys to my parents over the last weekend-plus and spent some time driving to see friends, art, attend Tool concerts and experience Lollapalooza in Grant Park.

Thursday the first leg of the It’s Not The Heat It’s The Humidity Tour took us to Cincinnati, Ohio where we caught up with our friends Jason Franz, Brigid O’Kane, and their lovely daughter Alexandra. We got to see the great work they are doing running Manifest Gallery in Cincinnati, Ohio.

I was happy to see the art work I helped jury for Manifest’s 3rd Annual Master Pieces exhibit. We all spent a good evening dining and catching up with our painter friend Chad E. who always keeps us laughing with his smart ass remarks. We also visited the drawing studio that Manifest sponsors. The space is a great set up with sky lights, new drawing easels and horses. Quite an accomplishment my buddies have created in the community.

Met up with my brother and family Friday night to see the Tool show at the PNC Pavillion. I got a chance to catch up with Maynard a bit before the show and heard about the latest on the wine making front. I was psyched when MJK informed me that we would have some passes waiting for us in Chicago for Friday’s Lolla show. I was also pleased talk with Adam and to meet Steve Niles. The two had scored some art and sculpture on the road in Canada and NYC. I’ve always loved the 70’s Gargoyles movie.

I was able to snap some good soundcheck and show photos with my old 2.1 mega-pixel camera. Aftershow Adam saw the state of my camera and made me a gift of his Sony Cyber-shot (what a guy!) I don’t know what I’m going to do with those 8 extra pixels now?

Saturday morning Laurie and I said our goodbyes to J,B & A and headed to Chicago to catch Lollapalooza where Tool was headlining. We had a pleasant surprise when we arrived at will-call and realized MJK had arranged for us to have passes to both Saturday and Sunday’s shows (Thank you!).

I met up with my nephew Adam and we managed to watch the show from the soundboard platform (thanks MaryJo). Tool’s show was excellent. The band was on and Maynard was very animated and talkative. The lasers that had shot over the crowd on Friday night were contained to the stage roof on Saturday. I assume this is to avoid shooting the beams into the city skyline and mirrored buildings to the west and north of the park. The sound and screen visuals were still great nonetheless and there’s nothing like 55,000 Tool fans singing along with Vicarious! I wasn’t able to shoot any photos because the camera wasn’t charged but it was fine anyway as I was able to concentrate on the show and the vibe. We hung out backstage after the show and talked to some people we hadn’t seen in a while then made the crazy trek back home for the night.

Sunday we headed back to into town to catch some more ‘palooza. Cage the Elephant, The Vampire Weekend, The Raveonettes, Lou Reed and Jane’s Addiction were the stand outs for me. Low point had to have been the frightened 6 year old standing with the trashed out dad lying in the grass in the middle of the crowd. Made sure someone was looking out for him. Tried to give him my ear plugs but someone had already gotten him some. Sometimes I don’t get people.

Decided to drive through and head to my parent’s to wake up with our boys. Watched a spectacular lightning storm staying just ahead of us as we headed north into Michigan. Spent a gorgeous morning/afternoon playing in the yard with the boys and their cousins. The sharp little eyes found some tree frogs, toads and various insects while they raced around and swung from the trees. Life’s good.

Trabajo y Tarea

2009-05-22T15:19:00.002-04:00

In my recent work I have been incorporating imagery and scenes inspired by family and family life. Memories of my family’s past, as well as, recent experiences as a husband and father inform the paintings and prints that I create. I see the image portrayed in the oil painting submitted for the National Center for Farmworker Health’s annual poster as an extension of the same theme.

Both of my parents arrived as teenagers in the States during the mid-forties. They met and married at a farm in Texas and worked diligently in the fields to provide for their growing family. My parents saw education as a means for their children to elevate themselves from the difficult work in the fields. As we grew my father consistently stressed the importance of education to each of his children. Although he himself had only achieved a third grade education in Mexico, my father’s wish was that, at the very least, each of us would complete high school. My parent’s wish was fulfilled with each of their eleven children completing high school and some even continuing onto college degrees.

This image of a father and son in a field is an homage to my loving parents’ wish. The tired father, who has been working all day in the field, has been met by his young son, freshly off the school bus. I imagine the words the boy conveys about what he has learned in school that day as his father carries him on his shoulders high above the green fields in which the father toils day after day.

This painting “Trabajo y Tarea” Work and Task (or Homework) is dedicated to my parents,and especially, to my loving father who, at 80 years old, continues to give unselfishly and is my guiding example, inspiration and hero.

The two main figures in this painting were modeled by my cousin, Sergio Almanza, and my nephew, Diego Cesar Rodriguez-Reyna.

This work will soon be available for purchase on the National Center for Farmworker Health’s website as a giclee print and poster. Funds received go to the Migrant Health Scholarship Program.

Two Step

2009-05-06T08:22:00.000-04:00

The next few days are going to be something.
Thursday I jury a show dealing with art and social justice.
Saturday is my Dad's 80th birthday party.
Sunday is Mother's Day.
Monday I fly out to San Antonio, TX for the unveiling of the image I painted for the National Center for Farmworker Health.
Tuesday I speak about the image and sign posters for people.
Wednesday I fly back home.

If you are in San Antonio stop by and say hello.

Spring Art Walk

2009-04-30T04:44:00.001-04:00

My studio is on this year's South Bend Spring Art Walk trail.
Stop by Saturday May 2nd @ 107 Monroe Street and check out some art.
11 a.m. to 5 p.m.

Milwaukee Public TV piece

2009-03-30T16:44:00.000-04:00

Here's a heads up for those of you in the greater Milwaukee area.

Milwaukee Public Television will air the segment they taped of my work/show at Latino Arts, Inc. next Tuesday (March 31) at 6:30 pm on channel 10. It will also repeat April 1st on channel 36 at 12:30am and again April 5th at 5:30pm on channel 36.

I haven't seen it yet but it may be good for a laugh.

Working it

2009-03-11T04:44:00.000-04:00

I spent the weekend working in the studio on the NCFH poster image.

I'm working in oils on an 18 x 24" canvas.

The image has already deviated from the proposed sketch. Sometimes bodies just can't physically contort themselves into what a sketch body will do.

Hopping Towards Spring...

2009-02-25T04:44:00.003-05:00

Things have been hopping around here.

At the end of January my family was able to visit the gallery in Milwaukee. About 20 of us had a private showing on a Saturday when the gallery is normally closed. It was good to be able to have my family see the installation.

February 9th I took down, packed up and drove the works back to Indiana. All the boxes and wrapped paintings are now clogging up my studio space.

I was invited to show with a group at Goshen College. The exhibit was entitled “The Dream”. I have also been invited to show at a small gallery in New Carlisle, Indiana – RJ Clark Studio/Gallery. That show runs through March 29th.

I’ve started some new black and white wood block prints. These images relate to some of the new paintings and others are companions to the same themes of family and parenthood.

I have been selected and commissioned to create an image to be used by the National Center for Farmworker Health. The painting will be reproduced as a giclee and offset posters which will be sold to raise money for scholarships.

What's Up, Doc?

2009-01-28T16:44:00.001-05:00

A few things that are happening:

I've been introducing my boys to the comical stylings of Looney Toons cartoons (hey, it can't be Fellini films all the time!)

I’m coordinating a group visit to Milwaukee for my family members to see my exhibit.

“The Dream” group show that my wife and I are part of opened last Sunday in Goshen, Indiana and runs through February 18th. I was also asked to exhibit, solo, next fall in the same space.

I’ll be part of a group show at a local gallery in New Carlisle, Indiana next month.

I’m working on sketches and blocks for new paintings and prints.

"The Dream" exhibit

2009-01-23T04:44:00.001-05:00

The Goshen College Multicultural Affairs Office,

Good Library, and the Center for Intercultural Teaching and Learning

bring to you:

"The Dream"

Art Exhibit at the Good Library Gallery

January 25-Febuary 18

Opening reception: Sunday, Jan. 25 from 2-4 p.m.

Featured Artists:

Richard Allen, painter

Margaret Bryant, fiber

Joe Casey, painter (self taught)

Javaughn Renee, painter

Laurie Rousseau, light boxes, photography

Ramiro Rodriguez, print maker

Kay Westhues, photographer

Jake Webster, sculptor

Opening reception: Sunday, Jan. 25 from 2-4 p.m.

This a FREE event!

Ring, Rang, Rung...

2009-01-05T04:44:00.001-05:00

Happy 2009 to everyone.

It was good to see friends and family over the past few weeks. I look forward to meeting up with those of you I didn't get a chance to meet up with in all the hustle and bustle.

My wife and I were invited by our friend, Jake Webster, to participate in a small group show. The exhibit is entitled "The Dream" and will take place at Goshen College in Goshen, Indiana January 24 - February 18, 2009. The opening reception is January 24th from 2-4 p.m.

I'm exhibiting a couple of new prints and my wife will exhibit some of her botanical light box assemblages.

February 6th is also the last day to view my exhibit, "Herencia" at Latino Arts Inc. in Milwaukee, Wisconsin.

If you are a curator or know of an exhibit space that is looking for a print and painting exhibit to show please contact me and maybe we can schedule something for this coming year.

In case you can't make it...

2008-12-16T04:44:00.001-05:00

My friend, Jon W., has posted a 360 video view of my exhibit installation, Herencia, at Latino Arts Inc. in Milwaukee, Wisconsin. The show runs through February 6th if you want to see it "in person."

Post-Art-um?

2008-12-14T15:21:00.003-05:00

After the big push to get "Herencia" completed and up I'm struggling to stave off post-art-um depression. Been a little under the weather but still trying to keep busy.

"La Llorona" print has been popular. I sold two prints of it in Milwaukee and just got word that the same print on display at Mexic-Arte in Austin has sold as well. Good news. Now if only a few paintings would sell.

My buddy Jon W., at Latino Arts Inc. sent me a link to another review of my exhibit.

A new group show is on the January horizon for my wife and myself at a local college. More info on that as it develops.

Showtime...

2008-12-09T04:44:00.003-05:00

December 8, 2008

Friday’s drive back to Milwaukee wasn’t the white knuckle adventure Monday was. The family and I took our time enjoying the cold but sunny weather on the way north.

We arrived at the gallery, I made some last minute adjustments, added the labels to the walls and got some gallery installation shots before people arrived. L and the boys made themselves scarce while I was interviewed by the local public tv station for their Adelante! show. The interviewer’s questions were pretty good. I had to keep reminding myself to look him in the eye and not stare off into the corner of the room as is my habit when thinking of answers to questions about my work.

The tv crew stuck around and interviewed the director of Latino Arts, Zulay Oszkay, while I headed downstairs to join L and the boys having their lunch at the in house restaurant. I was really too nervous to eat so I settled for a few leftover bites from the boys’ plates and a Dos X to calm myself. When we made it back upstairs the caterers had set up and people were starting to arrive. The tv crew recorded a few comments from the first few people who trickled into the gallery. I’ll be interested to see how their footage gets edited down.

A couple of friends, Gil and Dolores, came up from South Bend, the Jones family drove up from Libertyville and Daniel Aperavich arrived with the news that the new website he’d designed for me was up and running. A.J. brought a bottle of Patron as a congratulatory gift. My extended family wasn’t able to make the trek north on a weekday. I had mistakenly told them all that the gallery was open on the weekend (it’s not). We’ll have to coordinate a group trip before the show ends on February 6th.

The Lightboy wove his way through the gallery patrons taking pictures with his aunt A.’s iPhone. I went into the typical gallery opening mode – trying to greet the people I knew, never finishing a conversation and generally feeling discombobulated throughout the whole evening. José Conde did a short acoustic teaser set to advertise his show on Saturday. Co-sponsor, Alverno College had acknowledged some of their former students and success stories. Overall, the reception seemed a success. Many people expressed their appreciation for the works and a couple even bought some prints.

Delivery

2008-12-03T16:44:00.007-05:00

2008, December 3rd

The week leading up to delivery to Wisconsin had me in a spiraling mass of energy. Spent Saturday the 29 finishing up Hueco and Materia Prima while L framed up the last prints. Sunday was spent packing all the works – wrapping and boxing prints, wrapping paintings, picking up cardboard padding and the truck to haul everything in. Sunday night I packed it all into the truck and prayed it wouldn’t blizzard overnight.

Monday I rode out into a snow storm that didn’t look too bad at first. What worried me was how a 14’ truck would handle in the icy road and high winds. I white knuckled it through most of Indiana (6 cars in the median and ditch within the first 30 miles – including a cop car!) then got to Chicago just in time for the rush. What rush? It took me a couple of hours just to clear the city.

Finally got to Milwaukee and unloaded the truck in freezing wind. I spent the better part of the day unwrapping, laying out and hanging the works. I eliminated a few prints and one painting in the process. The model I had constructed at home made a big difference in helping lay out the space. It looks pretty darn good.

I made the long late night drive back in somewhat better weather. Looking forward to the drive back with the family on Friday. I’ll post some pics and comments sometime after the big event.

14 days and counting

2008-11-13T16:44:00.002-05:00

November 10, 2008
14 working days to go (22 days to delivery)

This whole week is devoted to being in the studio as much as I can possibly handle. I’m using some vacation time off work to get into the studio and paint all day. Waking up early in the morning and heading to the studio instead of work is quite nice.

Next week I travel to Austin for the Consejo Grafico conference. This trip is going to break up my work routine, therefore, I’m planning to leave many paintings drying while I’m away. Nine new paintings of various sizes…and I started a new one yesterday making it ten. Crazy I know.

The breakdown:
65 x 86” as yet untitled burial piece
53 x 53” message piece
2 – 72 x 42” - Hueco and Herencia
3 – 18 x 24” - the Pneuma series
1 – 24 x 18” - M
2 – 24 x 48” - Prima Materia and untitled stools piece

I’m working faster now. The blocking in was pretty solid so now it’s just finessing the modeling before I glaze over some details and contrasts. The hardest part for me is not over working areas. I tend to get to the point where all my nice colorful, planar, open areas start to get blended into one even gradation. I’m really trying to keeping stuff open and loose throughout the painting for once.

Shine a Light

2008-11-06T04:44:00.000-05:00

Tuesday morning I woke my eight year old Lightboy for school. As I gave him his morning hug I looked him in the eye and told him. Remember this day. Today this country can make history by electing it's first black President. Someday you can tell your kids about it. We then did some math 2008 - 1776= 232...

Finally, a leader I can believe in. Someone who's voice and words have resonance.
I live in a blue state now.
The work has just begun.
I'm proud to be an American.

My friend, Maynard James Keenan, has a much better handle of the words to describe how I feel.

Holy Moses!

2008-10-31T04:44:00.000-04:00

Construction of Light

2008-10-29T04:44:00.000-04:00

2008 October 29

Today, the Lightboy completes his 8th orbit around the sun.
Feliz cumple años Mijo!

October 27

2008-10-27T04:44:00.002-04:00

October 27, 2008

It’s getting colder outside and inside the studio too. I’m hoping the landlord kicks the boiler on soon.

I sold a print from the coffin series last week. I turned around and handed the money to the man that came to fix the burned out switch on my home furnace. Some times I feel like I’m living in that Seinfeld episode where Jerry balances out every time Elaine or George come out in the red or black. Balancing is fine but the view down can be a strain on the nerves.

The works are coming along as the deadline nears. I’m starting to concentrate on one painting at a time now. General to specific is leading into the details now.

I’ve also started to think about what prints need framing. I’ll have to pull what’s already framed and start wrapping what I can so as not to have to do everything last minute. The new paintings are going to be last minute. They’ll more than likely be a bit tacky when I load them in the truck on December 1st. I pray for good driving weather since I’ve had to rent a moving truck to get the bigger canvases to Milwaukee.

53 and counting...

2008-10-13T04:44:00.000-04:00

October 13, 2008

I had a very productive weekend in the studio.
The boys’ portraits for the series I’m calling “Pneuma” are coming along.
The long horizontal piece with three figures is blocked in to a pretty good level.
An unsettling dream Sunday morning has given me some insight into the “burial” painting.

Hair of the dog

2008-10-08T04:44:00.002-04:00

Saturday morning was spent painting a dog into the largest canvas. My friends, J&K's dog, Jack, a beautiful white and brown German short haired pointer, was my model. He was just what the painting was waiting for and his lithe muscular body was fun to paint.

Late afternoon we packed up and headed to my brother's to celebrate his 50th birthday. What started as a great family celebration ended in catastrophe. My three year old niece was bitten by my brother's Labrador. Her face injury required 15 stitches and although she came through like a little trooper the scars of the attack will be with her for life. I don't think I will ever forget the horrifying feeling that came with the sudden-ness of the attack, her cries of pain and the general panic that everyone was jolted with.

I'm a big dog lover though I don't own any now. I've taught my boys how to approach and respect any dog they meet, whether a stranger's, a friend's or a familiar pet. However, the one thing always in the back of my mind has been the potential of a dog attack. Every dog owner will tell you how friendly their dog is but statistics show that of the 400,000 dog bites that occur in this country, 80% are bites to children and a large percentage of these bites are from dogs they know.

Among things to remember: dogs see direct eye contact and barred teeth as a sign of challenge. Kids' smiling faces are usually at the same or near the same level as a dog's. Happy faces eager to greet a dog can be interpreted as a challenge. The dog reacts by snapping. Dogs are also territorial so a child's playful reaching for a dog toy or food is particularly dangerous. Sudden erratic movements from kids are also confusing to dogs.

I encourage everyone, parents, non-parents and dog owners, to visit the Humane Society's page and read up on how to avoid dog bites. My niece was lucky that the bite wasn't worse but the traumatic event won't soon leave her or the rest of us that were there or know her. I wouldn't want anyone else to have to experience such a thing.

The best laid plans...

2008-10-03T16:44:00.002-04:00

October 3, 2008

I’ve been spending much more time in the studio. The paintings are coming along. Though there’s a lot of painting left to do I’m feeling really good about the way this new body of work is coming together.

I’ve spent the last two days making a 1/2” scale model of the gallery space in WI. I want to make sure I have enough work to fill the space while allowing for a decent layout. Call me anal, but I don’t like big surprises when it comes to installing a show, let alone, my own work.

I’m considering leaving the Earth Dragon coffin piece and prints out of the show. The prints take up quite a bit of wall space, are expensive to frame, and although related, vary from the rest of the works enough to disrupt the flow. I’ll have to think more on this.

And on another note:
The (Young) Gods speak:

Equinox

2008-09-22T04:44:00.001-04:00

September 22, 2008

I had a great weekend in and out of the studio. I feel like I finally got some momentum going on the paintings. The weekend also turned out to be a busy social time for me as well.

Three of the four big canvases are coming along nicely. The fourth is still waiting for the big push. Actually, it’s waiting for any push at all at the moment. I’m really partial to this particular image so I’ve been holding off doing anything major until I’m more in the painting groove. I don’t want to screw anything up. Dogs have made a comeback in the imagery. I have to schedule a time with my pal J to get some reference of Jack the wonder dog. The two series of four 18 x 24” canvases are still in the beginning stages. Right now I’m calling one series “Air” and the other “Banco” for lack of a better titles. I’ve encountered some drying issues with one of the background colors that I’ve yet to work out.

Early Friday evening we got a call that a couple of our good friends were in town. We were invited to dinner at G’s home and had a wonderful time catching up with Malaquias and Leslie Montoya. Malaquias had an opening for his “Globalization & War: The Aftermath,” exhibit in DeKalb, IL.

Saturday morning M and gang came by my studio to have a quick look at what was going on there. Although I’m not usually keen on the idea it was nice to have them see the works in progress. Leslie seemed surprised that I was working on more than one painting at a time. As I explained that it was the best way I had to deal with drying times I remembered that Malaquias works mainly in acrylic so he doesn’t encounter that problem much. They all had encouraging words before making their way to the airport. The rest of the day was spent painting and planning.

Saturday night L and I made our way to D’s house warming party. D was celebrating his new home and artworks with a small group of close friends. My Earth Dragon (coffin) suite of prints is among the Meso/Latino art pieces he has displayed. The guests had many positive compliments on the prints and I even made one possible sale (fingers crossed).

Most of Sunday was spent at the studio except for a lunchtime break to wrestle with the boys. All in all a pretty good weekend.

Recycled

2008-09-05T04:44:00.001-04:00

Working from the past to the present:

August 21st, 2008
I'm being torn in two directions at the moment. Should I make work or should I work on the space where I can make work? Decisions, decisions.

Something I started more than 4 years ago and have yet to finish is calling me. I’m converting my old two stall garage into an art studio. Getting the press put a fire under me to finally buckle down and finish the conversion. Over the years the building has been rewired and the roof has been redone but I always stall out due to time or cash constraints. I've spent the last few days patching concrete and securing doors. Two days ago I bought the insulation needed to help keep the cold and damp out. I wouldn’t want the press and all my stuff getting damp, rusty, and moldy.

The thing is I still have the December show hanging out there calling for new work as well. Where's that cloning machine?

August 26th, 2008
Took a break from working on the garage last night. Took the boys to see a movie instead. I'm burning out on being covered in sweat, sawdust, insulation, dodging mud wasps and losing my rock and roll hearing to loud saws and hammering.

The place is looking very nice though. I’m using recycled materials wherever I can. I’m using some 4’x 10’ x 1/2” ply to serve as my wall cover. I’m using this for two reasons: 1) because it was free, salvaged from a gallery at work and 2) because it will allow me to nail anywhere on the wall instead of having to look for a stud every time I need to hang a heavy thing. I’m thinking about punching some holes in the north exterior walls to allow for some more windows and an exhaust fan. An electric heater is going to have to be dug up somewhere to help heat the place since I don’t have a gas line out to the garage.

I can't wait to finish getting all the wall boards up and painting everything a nice light color to brighten up the place.

It's coming along...

September 2nd, 2008
Saturday: another studio wall done, fort building, sweating, Samurai Jack, scanning, reading ...
Sunday: travel, familia, Oberon, campfire, smores, millions or stars...
Monday: giant spider, breakfast with parents, meeting cousin I haven't seen in 30+ years, missing water, picking peaches, driving...
Tuesday: back at it...

September 5th, 2008
I’ve left the garage/studio project hanging for a few days as I try to get my head back into working on some art.
Now, where was I?

Moon gifts

2008-08-18T04:44:00.001-04:00

The full moon brought along some strong energy this past week.

Friday my wife, L, finished framing up the coffin prints. They look fantastic! We delivered and hung them up for D.B. We then celebrated with a nice toast of Earth Dragon milk (aka – tequila). Doug was beaming and I couldn’t help but smile knowing that the prints were exactly where they should be.

Friday morning was also when I helped move the small etching press to the repair shop before my friend J.D. passed it along to me. The repair work didn’t take long and by 3 p.m. it was ready to go. I wasn’t able to line up the moving crew (my friend Jason, his big bad truck, and I) until Sunday afternoon.

Saturday I spent preparing my garage-soon-to-be-studio-space with the Milagro Boy. This meant a big clean up and repairing/securing doors for the delivery. My garage may not be the perfect place for a press right now but with some work I hope to have a working studio set up very soon. Plus, there's no way I was going to attempt hauling that press up a flight of stairs to my current studio!

Sunday I helped Jason move some wood into his basement. He’s building his own studio in his house basement and we’re trading favors. Once we unloaded his big bad truck we picked up and delivered the press. My nephew Scott helped Jason and I with the unloading.

The press is a refurbished Charles Brand and weighs about 300 lbs. It has a 16 x 30” bed. I can’t wait to break it in. Big thanks to Jean D.

137 Days to go...

2008-07-21T04:44:00.006-04:00

July 21, 2008
137 days to go…

There was more hot and sweaty printing this weekend. There was also occasional breaths of fresh breeze.

One more side to be printed and I can move on to the paintings.
The boys did some printing of their own using the tortilla press donated by their Abuela.

At home one of garden patron saints came around to say hello to the boys. One of the mantis babies hatched a few weeks back.

July 18, 2008

Last night was a hot printing affair in the studio.
There was plenty of work but little progress. I actually fell back a few steps. Aggravating.
I turned out all the lights and lay on the floor absorbing some moonlight in order to not leave the studio feeling dejected.
Today I started off sluggish and I felt myself drifting then a considerate word reset the moorings.

TGIF
I’m looking forward to the full weekend in the studio. Once the prints are finally completed and go on to be framed I can concentrate on the paintings fully.

July 15, 2008
Waxing moons usually dredge up my dream life.
The other night my dreams ended with me finding a handwritten note stating “The last four seconds really rounded off the hard corners.” Funny.
Laurie Anderson says something like – when you don’t remember your dreams its because you were off in someone else’s. I like that.

I’m craving a dog, a wide open field, some streams and big cumulus clouds.

Tonight:
My buddies in the Arsonist’s Daughter are opening for Suffocation in South Bend, IN. Should be an incredible show.

July 9, 2008

Working in the studio - I've noticed a few things:
I'm reminded how much I would rather make my own art than hang someone else’s.
I'm remembering my dreams and I like that.
My boys ask the best questions.
I'm easily distracted.
This is hard.

I walk to the water bearing gifts.

July 7, 2008

Spending the early part of the day working in the studio.

Evenings spent with the boys and carving new blocks.

Sweating and breathing...

July 3, 2008

I'm counting down the hours until my 10 days of studio time.

Of course there will be a brief detour tomorrow to watch things go pop, plop and ploop. I'll try not to burn anything down...

Anxious to see the new addition to the ever expanding extended Rodriguez family, my new niece born last night.

170 Days to Go: Commitment

2008-06-18T04:44:00.003-04:00

Someone once said something to the effect – With a blank canvas your options are limitless. With each successive mark your options narrow down....

LatinoArts has been asking for a title to my exhibit in December. I agonized over choosing something that could encompass the ideas behind what I intend to show. Last week I decided on Herencia, after the 1996 wood relief print by the same name. I like this Spanish word because it can mean heritage, inheritance and heredity. Along with the title came a new clarity and focus as to what I want to see and what needs to be done with the works currently underway. The theme that has been emerging in my recent works comes from the idea of carrying one's history around at all times. This history includes all the ancestral memories and life struggles that converge into creating who one is today. The past's constant informing of the present and the future. More on this at a later...

Last night, with a handshake and a partial payment in hand, I committed to have an edition of the coffin prints ready for a patron within the next few weeks. He, my wife and I figured out a framing and hanging configuration that is going to look fantastic.

The display of the printed portion of the coffin has always been a concern to me even as I was carving out the piece. The first concern is how to display six pieces of printed paper to appear as one continuous image. The second is how to frame such a long image in the best manner possible. Most people do not have a 16' stretch of wall to display the print as intended - a continuous image that makes up the Olmec Earth Dragon's body. When I first displayed it at the Snite Museum I overlapped and pinned the individual sheets to the gallery wall.

Last night we came upon a configuration that should work. The piece won't be continuous but certain sections will be framed together in four separate frames and double hung on a wall. The top section will have the male and female, sun and moon skeletons flanking the central Earth Dragon face in one frame. The bottom section will have the two 54" side panels flanking the Tree of Life panel. Each will be in its own frame. Very cool.

During the time it took me to get these thoughts down two significant things came to my attention.

My dear friend marks the 5th anniversary of his mother's passing on his blog and one of my musical heroes, Trey Gunn, blogged about some similar ideas at his myspace page.

175 Days to Go

2008-06-13T04:44:00.000-04:00

175 Days to go

What have I been up to?

L and I traveled to Grand Rapids, Michigan to frame and install the Zapopan – GR Sister Cities Exhibition. The work looked great and all were happy with the installation.

At the studio, I’ve been finishing up printing the editions of 3x4” color prints, building more canvas stretchers, stretching and gessoing canvas, shooting reference photos, reworking the coffin images and printing up the sides.

198 Days to go

2008-05-29T04:44:00.000-04:00

198 days to go

Art buddies, J and S, visited the studio yesterday at lunch time. Of course there was nothing concrete to see in the painting area because I had whited out all previous works. We admired the stretched canvases and stretchers. I showed them the sketch wall and also some of the photoshopped reference sketches so they could see what was going to happen. J caught and understood the anxiety I feel over thinking I have to bridge some older works with the new. He didn’t think it was much of a problem and the continuity is there. Because of his job he also understands the curator/exhibit design/artist mode that I am encountering.

J had some good insights and a suggestion on how to get focused. Make a to-do list at the end of the day and check it again when I enter the studio the next time. This is something I have done in an all-encompassing way but not on a day-to-day level. This way you can see some progress being made and keep on track as to what needs to be done.

While I had two more pairs of arms around I had the guys help me lift the big green coffin up onto some saw horses. I’ve been afraid I’m going to run something into that thing and ruin the finish. Propping it up also gives me better access to it for printing.

After work I watched the boys climb trees, drew dragons and knights on the sidewalk with the M, had dinner, and headed off to work in the studio. One of my neices is getting married soon. Her husband to be asked for a print of the marriage scene from one of the coffin sides as a gift. That was enough incentive to attempt to print one of the coffin sides. I mapped out a cropped composition from the 18 x 54” side. I used some paper guides to block out any over rolling and inked up a 18 x 14” portion of the block. It took quite a while to ink up the area with my 6 inch roller. Once the surface looked properly inked I lined up the paper and tacked it down with some painter’s tape so it wouldn’t slip off the vertical surface. I burnished the area with my trusty spoon and got a pretty good impression. I inked up once more and pulled another print for myself.

Once I pulled the paper guides off the block I realized that the inking up of that section was going to leave a distinct area darker than the rest of the block. The only solution was to ink the rest of the side. I thought as long as I was doing that I might as well attempt to pull a print. Now the last time I pulled a print from this block it was a single piece of wood 18 x 54”. It wasn’t attached to other boards, I had S helping lay the paper, and I was able to run it through a press horizontally! This night I was alone, the board was glued to the rest of the coffin sides and was sitting vertically on a pair of saw horses 3 feet off the ground. What the hell? I inked up the block, cut some paper, figured out the registration, rolled up the paper and lined it up as best I could against the block. I held my breath as I lay it down on the ink and started to roll it out. I was concerned if I missed the angle of the paper by a few degrees the image was going to run close to or off the paper at the opposite end of the block. The first one lay pretty good, not centered but pretty close. I burnished and burnished and burnished working left to right. As I got to the opposite end of the block my spoon went over a tiny piece of grit in the ink. The result was a small tear through the paper that had me hopping and cursing the dust gods all around the studio.

I calmed down enough to realize that the print wasn’t a total disaster. I strung it up to dry and sat a while to think out what to do next. By this time it was getting pretty late but I still wanted to get another print after all the trouble the inking up had been. The wood had absorbed enough ink that the block was now an even shade of green. I rolled the whole thing up once more and pulled another print. This time the paper really rolled out skewed but still fell within the image margin. I hung that one up to dry and called it a night.

As I sat writing up my list of things to do next I scanned the side of the coffin and started to see little areas here and there that needed a little more work. I think I’m going to have to carve some more before I get the definitive print from this piece...

199 and counting

2008-05-20T04:44:00.001-04:00

May 20, 2008
199 Days To Go

Beginning and then beginning again.
Task: How to keep a train of thought when there are so many other things vying for attention?

There are many things going on at home and in the studio. However, creating work has dropped low on the list. My full time job is about to kick into busy mode. Schedules are changing at home as the boys get out of school for the summer. When I do get to the studio I’ve had to juggle documenting works, getting information out, storing works and making a workable space, preparing supports, re-evaluating what goes where, and getting references for new works. On top of all that I have to coordinate when to paint and when to print so I’m not splashing stuff all over everything else.

Who said art making was easy? What I started working on before my trip to Mexico has been restarted. After drawing out some figures on the big canvas I realized that the composition was going to be too cramped. I then realized that this painting will have a relation to another and it would be more appropriate if the dimensions to both were closer in scale. (Once again the influence of my day job - laying out galleries - is a gift or a curse as I am thinking of how things will hang in the exhibit space as I am creating them.) So, I begin again. I’ve painted out what I’d done. The 7-year-old-Lightboy thinks I am crazy, my lovely thinks I’m crazy (but is supportive), soon-to-be-4-year-old-Miracleboy has the right idea: he just draws and draws more robots on any scrap of paper he can find.

There are now 4 big canvases staring blankly at me and I’ve yet to build 2 more stretchers. I still haven’t figured out how to reprint the coffin blocks that are glued together…

Jalisco, Mexico (Day 3)

2008-05-08T16:44:00.000-04:00

2008, April 26 (Jalisco, Mexico day three)

This was our last full day in Jalisco. The plan was to check out the town of Tlaquepaque, home of some of the best “arte popular” in the area. Once again Luis was our guide. Today the Zapopan hosts had arranged for one of their group to drive us.

I’m by no means big on shopping (unless it’s for music) but I was interested to check out the local crafts. My plan was to scout out any potential accents that I could use for my own works. The skeleton I used last October in my coffin piece was on loan from a friend. I was looking to find a permanent replacement in case I decide to use it in my Milwaukee show in December. José was looking to find stuff for his home and family. Tlaquepaque is the place to look. Shop after shop of crafts, art, and clothing line the main street area. Huichol artisans lay out their colorful beaded crafts on the sidewalks, kids walk around offering shoe shines, food sellers peddle their stuff and blind singers intone beautiful songs about love gone bad.

We visited a few galleries and a museum dedicated to the ceramic arts of the region. For a small museum they had an impressive collection of the various ceramics methods and styles created in the region and the rest of Mexico. My favorite here was a room dedicated to miniature dioramas depicting various historical and mythological events.

After hours of shopping my head was about to implode. I didn’t manage to find a skeleton but I did find some stamped tin pieces and some gifts for the family. We were also a bit famished so we stopped into Casa Fuerte for lunch and libations. This was a beautiful choice. The entry way was littered with juniper needles. The effect of the scent being released as you walked over the needles was a clever touch. Inside we were really outside. A big courtyard covered in hanging banners and umbrellas let the cool breeze through as a piano player serenaded us with huapangos and even John Lennon tunes. The first prize of the day goes to the tamarind margaritas! I’m not a big fan of margaritas. I prefer my tequila neat. However, Luis and José coaxed me into trying these out. I’m glad I did. The mixed was finely blended ice in a glass rimmed with sea salt and red pepper flakes. The pepper wasn’t hot but did give a fine accent to the whole mixture. Needless to say we polished off a few of these tasty treats.

Once our delicious lunch was polished off we continued on to Casa de las Flores a B&B that Luis’ friend José G. owns. Mr. G. is also an art lover and gallery owner. There we met up with Luis’ friend, Leti, and saw some of her work as well as Luis’. During our conversations in the beautiful back garden enclosure our host asked me a question I didn’t quite hear. What I thought he was asking was “Have you had a margarita?” I answered “Yes” thinking he was referring to us eating at Casa Fuerte. What he really had asked was “Do you want a margarita?” Soon we were on our way to some more drinking. I’ll have to say after the tamarind margaritas these regular lime ones really didn’t compare.

We checked our watches and noticed that we would have to rush back to the hotel to meet Ricardo. He had made arrangements for us to catch the Ballet Folklorico in Guadalajara that night. We took leave of Luis and friends and beat a hasty exit to our parked vehicle. On the way out we ran into a group decked out in Aztec feathers and guaraches practicing it’s dance moves on the street. We watched for a few minutes before moving on. Our companion driver sped us back to our hotel in questionable circuitous path. We arrived just in time to splash some water over us, change into something a bit more formal, and greet Ricardo.

The Ballet Folklorico gets the second prize of the day. It was like nothing I’d ever seen before. I’ve grown up seeing and even performing (once) in some traditional dances when I was a kid. The set production, costuming and live music of the B.F. in Mexico was something to behold. The dance troupe had about 20 dancers on the stage at times. The simple set design and creative use of light gels really kept the attention on the dancers and singers. The program was designed to highlight the diverse regions of Mexico song and dance. My favorite was the women dancing to the “son” of Veracruz. The stage backdrop was a moonlit tropical beach. The dancers wore light green dresses and danced with lit candles balanced on their heads. The movements created by the women gripping their dress skirts in their hands and undulating forward and backward gave the ghostly effect of moths dancing in the light. I found it all quite moving. Of course the state of Jalisco was saved for last. The crowd roared with enthusiasm as the mariachi came out in full force singing “Jalisco no te rajes…” It was a great ending to an amazing show, day, and the topper for our stay in Mexico.

The next morning we caught an early flight back to the States. While in flight I played over the events of our visit. I’ve been to Mexico many times. This trip was my first in eighteen years. It would be hard to compare the contrast encountered now. When I visited as a kid it was always to see family out in the “ranchos”. Way out in the middle of nowhere where the people were poor, affectionate and willing to give you their all. This time around in a huge metropolis that is Guadalajara I saw the breadth of the economic situation people endure. The culture is rich from it’s varied roots and influx of international industry and money. Mexico is a complicated country with a lot of beauty and problems but always a wonder to experience.

I’m looking forward to seeing the selected pieces arrive in the states. Raul Anguiano’s prints and mixed media pieces by Luis Macias will grace the walls of the old GRAM in July.

Jalisco, Mexico (Day 2)

2008-05-06T16:44:00.000-04:00

2008, April 25 (Jalisco, Mexico day two)

Our second day in Jalisco started with the same killer buffet at our hotel. Teresa, the affectionate tortilla maker, had me laughing in no time. José and I planned our day as we ate our breakfast and watched the tourists, movers and shakers eating . We had an appointment with the director of MAZ, Museo de Arte Zapopan, at noon. The rest of the day was open to looking at art and perhaps meeting some of Luis’ friends.

We found Luis waiting in the lobby after we had gorged ourselves of goodies and cafecitos. We caught a cab back down to the heart of Zapopan. We were early for our appointment so we took in the various exhibits at MAZ. A local artist, Carlos Vargas Pons, had his work displayed in the main gallery. His large canvases incorporate realistic representations of figures superimposed on copies of famous art historical pieces. The exhibit covered about 15 years of work. The pieces evolved from pictorial break up of the picture plane to his recent pieces where he literally breaks up the canvases into slivers of individual pieces grouped to create one large image. I much preferred the earlier work. Somehow the newer work seemed geared more towards a commercial market.

In one of the upper galleries we discovered an exhibit of illustrations and sculpture by a fantastic French illustrator, Bruno Fourure. Mr. Fourure has an impeccable way with detail in his ink and watercolor paintings of cities and fantastic landscapes. He also has a unique grasp of creating 3-D pop outs of his works that extend into sculpture in the round. One long case held a zoo train where each car was created in a different material combination – paper, wood, etc. The entire exhibit was kid friendly. There was a school group of 7 year olds camped out on the floor playing a game with cards sporting some of B.F’s images.

Our meeting at noon was quick and to the point. We met Ricardo D., the director of MAZ in his office. José quickly stated our purpose and we were shown a list of prospective prints from the Anguiano show we had seen the day before. While José and Ricardo went over some info I quickly scanned the list and tried to figure out how many of the 22 pieces we could actually exhibit in GR. Ricardo and I then discussed how to get the works to the States. We finished our business talk and moved onto other subjects. I asked Ricardo if there were any galleries showing prints by the Taller de Grafica Popular. I mentioned that I had a personal interest in the TGP, especially my favorite of the groups’ printers, Leopoldo Mendez. A big smile crossed Ricardo’s face as he informed me that Leopoldo was his Grandfather and that he happened to have some prints by him at his home. He extended an invitation to come see them. I couldn’t believe my stroke of luck! We agreed to meet later as we made our exit. I think I floated out of the room.

From the plaza at Zapopan we rode over near the University of Guadalajara to look at the museum there. On the way I noticed many unfinished construction sites. José and Luis explained the nature of politics in Jalisco. The government runs on three year terms. This makes it difficult for anything to get done as the parties seem to flip flop every election. The first 18 months are taken up changing policies from the last administration, for good or bad. The next 18 months are spent defending those changes and trying to get re-elected. The next administration rarely sees through the last administrations projects, therefore there is a lot of wasted money and efforts.

We walked onto the Universidad de Guadalajara campus to see some more Orozco murals in a small auditorium. We chanced upon a declaration being read and then signed by students of the University. The declaration was being sent to the UN. We continued on to towards the museum only to find it closed for installation. Luis recommended we walk on to the Ex-Convento del Carmen, a gallery converted from an old convent. On the way we were able to see some of Luis’ father’s sculpture in a park. The piece was a tribute to 3 founders of the worker’s movement.

The convent had some interesting works on view. I have to admit I was starting to wear down in the heat and sensory overload. I don’t think I gave the art the attention it was due. There were some interesting minimalist abstract pieces on acrylic and glass sheets that did catch my attention but somehow I misplaced the name of the artist.

Next we met up with a lawyer friend of Luis' at an open air bar. Abraham is an art lover and very animated talker. Luis had me show A. my portfolio, which I had loaded on my iPod. He liked my work and started addressing me as "Maestro". I was touched and a little embarrassed but the sentiment seemed genuine. A. had a meeting to catch so J., L. and I caught a so-so lunch at a smoke filled restaurant and headed back to the hotel to freshen up before heading to Ricardo’s home.

Ricardo’s home was in an older part of Guadalajara. The walls were covered with paintings, prints and “arte popular” (Mexican crafts like dishes, ceramic animals, glass, etc.). Ricardo showed us four of Leopoldo’s signed linoleum prints that he had framed in the living room and then pulled some others that were not signed or framed. They were all stunning. Leopoldo’s my favorite of the TGP artists for his strong compositions and exceptional drawing skills. His works have a very cinematic feel to me. Over sips of tequila Ricardo recounted his rediscovery of his grandfather. The family had lost touch with who Leopoldo was until an artist friend visited their home and recognized the prints and clued them in on Mendez’s significance in the Mexican art world. Ricardo recounted how his sister used to color in the prints that had been kept in a drawer in his mother’s house. The prints he showed us were some that he had the sense to save when he was old enough to know better. Reminded me of my little helper.

We closed out the night with a visit to one of the oldest bars in downtown Guadalajara called El Fuente. The bar is infamous for being the meeting place for politicians, artists and performers. Ricardo informed us that long ago he had painted a mural on the walls around the bar. The acrylic paints had long flaked away and been repainted. All that remained now was an image of a moon painted “al fresco” in a niche above the bar. The niche also held one of the grungiest bicycles I’ve ever seen. Legend has it that a patron left the bicycle as an I.O.U. for his bar tab and never came back for it.

Jalisco, Mexico (Day 1)

2008-05-02T16:44:00.003-04:00

2008, April 24 (Michigan to Mexico Day One and Two)

I’ve written way too much so I’ll have to break this into a few posts (not that anyone is going to read them anyway!)

I traveled to the state of Jalisco, Mexico last week. I visited the city of Zapopan near Guadalajara with José R., Assistant to the City Manager of Grand Rapids, Michigan. We were there to select some art work for an exhibition taking place in July that will coincide with the signing of an order declaring Zapopan and Grand Rapids as sister cities. While the trip was for selecting artwork and making arrangements for their travel I welcomed the opportunity to revisit my parents’ homeland and get to know more of Mexico.

Wednesday morning was spent looking over the potential exhibit space in Grand Rapids and making notes about what needed to be done to get the space prepared for exhibiting. The exhibit will hang in what used to be the Grand Rapids Art Museum before they moved to their new building. The Zapopan exhibit will share space with the annual Festival of the Arts exhibit. Festival organizers were gracious enough to spare us a space to hang some work. After checking the site José and I caught our flight arriving in Guadalajara late in the evening.

Thursday was my birthday. I hope the travel and new experiences I was about to encounter are signs of good things to come. We caught a great breakfast in the hotel that gave a whole new angle to the term “buffet”. Only in Mexico could you find chilaquiles, pozole, menudo, chorizo and pan dulce along side eggs, potatoes, bagels and yogurt. A very nice and talkative woman named Teresa made us some hot tortillas from freshly ground corn. The rest of the morning was spent meeting representatives from the city of Zapopan and arranging meetings with artists and curators. In the afternoon we headed to the heart of Zapopan and met up with Luis Macias, an artist José had met on a previous visit. Luis took us around to the cathedral and the Huichol museum that is housed right next door. I quickly purchased a couple of brightly colored beaded animal forms for my boys just as the gift shop was closing up.

As we walked around the plaza we noticed a rally of protestors and armed police in front of the city building. I tried to take some discreet pictures as we walked passed them to enter the building where an exhibit we wanted to see was hanging. The exhibit “Trazos de Una Vida” (Strokes of a Life), lithograph prints of Mexican women by Raúl Anguiano was displayed on the second floor atrium of the building. Mr. Anguiano was one of the founding members of the Taller de Grafíca Popular. We walked around the area taking in the sights as Luis made calls to various friends to lock in times to see their art. Before continuing on we took a break from the heat of the day by having a couple of Indio, a tasty dark Mexican beer, at a corner bar.

We next visited Hospicio de las Cabañas where I was able to view works by two of my favorite Mexican masters, José Clemente Orozco and Alejandro Colunga. (http://www.galenfrysinger.com/orozco_murals_hospicio_cabanas_gradalajara.htm) Colunga’s magical bronze chairs decorate the plaza just outside the Cabañas. Luis informed us that he and his father had created the bronzes according to Colunga’s specifications. It turns out that Luis’ father was the official church sculptor for Guadalajara. Luis had worked closely with his father from age 14 on. Once inside the Hospicio Cabañas I was pleasantly surprised to see the intense murals by Orozco. I don’t know how it had slipped my mind that the iconic Hombre En Fuego was in Guadalajara. We chanced upon a very animated and informative tour guide who walked a small group around the space. I found his rapid-fire explanations of various aspects of the imagery and tricky perspective insightful and very well thought out. I particularly liked the minimalist description of the LosTres Grandes: “Rivera was a communist who liked the fine things, Siquieros a red and black socialist, Orozco was…a Humanist.” I lay on the cool stone floor of this former church and children’s orphanage to take in the frescos on the ceiling and snap some pictures.

By the time we got to the mercado we were starting to wear down. It was 4 p.m. – lunch time in Mexico. Luis recommended a food post that would have something we could all eat. I don’t eat any land flesh, which can make eating in foreign meat loving lands like Mexico a bit of a challenge. In addition to my personal eating choices we were being cautious to avoid any chances of becoming host to any opportunist intestinal critters. I was a bit worried about Luis’ choice at first but threw caution to the wind as he ordered up three bowls of spicy fish soup and corn tortillas for the three of us. The soup hit the spot in all the right ways (and luckily not the wrong ways). After lunch José and I parted ways with Luis and the mercado feeling invigorated.

José and I were anxious to check out a fair we had read about in the paper called Zapopum. In a cab headed north I took in the sights and smells of Guadalajara rush hour traffic while José made conversation with the driver. I noticed how the smell of mesquite smoke took me back to the earliest times I had visited Mexico with my family. Upon arriving at our destination we purchased entry to Zapopum for the very agreeable price of about $1.50 American. The fair turned out to be less than what we expected but what had caught our attention in the paper was not. A group by the name Architects of Air had a display entitled Levity III (http://www.architects-of-air.com/main.html). The inflatable vinyl structure with its minimal design and soundscape soundtrack was a welcome break from the sensory overload of the day in the city. The translucent quality of the material the structure is built from creates a mesmerizing sensation within a colorful labyrinth of womblike tunnels. Inside it felt like we were being bathed in the light of a stained glass cathedral.

When we emerged from the cool calm oasis of the sculpture we noticed a darkening sky and what we thought were dark rain clouds. We later found out that the clouds (and the smoke I had smelled earlier) were billowing from the arsonist set burning of a forest nearby. 40% of the forest burned that day. We’re told that this a customary occurrence by shady developers that are tired of waiting for building permits.

It was late by the time we got back to our hotel and freshened up. We decided to find a bar nearby where we could kick back and enjoy a few birthday drinks. We skipped the loud and trendy bar full of youngsters because of the awful music selection and the absence of Indio. Instead, we opted for a smaller open bar that had a young hipster bartending. We drank the last two of the Indio beers he had and then moved on to something else that I can’t recall now. Sobering thought for the day: Watching tv coverage of the burning forest while being surrounded by a group of four little girls that looked to be from 1 1/2 – 7 years old. They were begging for money in exchange for some gum packets. We gave them money and told them to keep the gum for someone else. This idea seemed strange to them and they kept trying to leave the gum. José and I sat stunned with probably the same thing running through our minds “those kids our our kids’ ages.”

The Voice...

2008-04-18T09:42:00.001-04:00

2008, April 18

The Voice of God…?

I was awoken early this morning by a chiming sound that was not my alarm. As I lay in bed I realized that a little metal effigy on the bedroom altar was making the sound. I got up to still the object thinking it odd that a truck or faraway train rumble could be causing the vibration. When I let go of the vibration continued. “Odd”, I thought, “maybe it’s an earthquake?” not really believing it was one. Turns out I was right the first time. The news is saying we got a 5.4 quake. Not something we’re accustomed to in the Midwest.

Work in the studio continues at a slow pace. I’ve been drawing in the composition on the new canvas. It’s a big one, 85 x 65”, and a bit unruly to work with. I’ll have to set up some system to be able to reach all the areas comfortably. It’s been a while since I worked on this scale. One other 72 x 42” canvas is stretched and ready to go, another stretcher of the same size has yet to be built.

I have a couple of concerns about the work needed for the WI exhibit. The first is the amount of work I will need to fill the gallery(about 2400 sq. feet). If I use some older works with newer works I will have plenty to make a good presentation. Naturally, I would prefer to have as much new work as possible. One thing I have to remember is that most people will have never seen any of the work so how old it is doesn’t really matter in that respect.

The second concern is whether the span of work will work as a cohesive unit. How do my older works relate, compare or contrast the newer works? There has definitely been a shift in my focus in the last decade of so. The water paintings, the black and white wood relief prints to the family paintings and the color prints. A bridge between these areas of emphasis is required if I intend the entire exhibit to hold together and not look like some schizoid man has created it.

Start/stop/start again...

2008-04-10T04:44:00.000-04:00

2008, April 10

Installation at my day job hasn’t permitted me to keep up with this blah-g thing so now I’m doing a little catch up.

I’m looking forward to my trip to Zapopan in Jalisco, Mexico in a couple of weeks. I leave the day before my birthday and come back 5 days later. I’ll be in curator mode but will be carrying along my iPod filled with samples of my work to show around as well. I’d love to have a show in Mexico someday.

The show in Milwaukee, WI at Latino Arts Inc. is set for a December 2008 opening. That really isn’t too far away. I hope to have a mix of older and newer works in the show. In particular, I’m looking to include a few new paintings along with the new color wood block prints.

Though things have been moving slowly at the studio I have gotten some things done. I carved and printed two new 3 x 4” color wood block relief prints. I really love the way they’ve turned out and hope to gets some shots up here soon. The canvas that presented an image to me (see my Jan. 22 post) has been started. The image has already morphed into something different but I really like what it can become. The image will be a play on my print “Herencia”. I’ve attempted to paint that image a few times now and I think I finally have the right models and composition/setting.

New inks, paper and a large bolt of canvas are on their way from WA. If everything arrives soon I can stretch and gesso some canvases this weekend.

Things on the horizon: I’ll be self-publishing a book of my images in the somewhat near future. Any suggestions on which images you’d like to see reproduced?

Book Illustration News

2008-03-18T04:44:00.001-04:00

News:
An illustration I donated has been published in a new book.

THE HARDEST PART OF LOVE
A Stephen Schwartz song illustrated

March 13, 2008 – This new book, an adaptation of Stephen Schwartz’s eloquent and affecting song, “The Hardest Part of Love” from the widely popular staged musical CHILDREN OF EDEN and his RELUCTANT PILGRIM CD, will pull at the heartstrings of all parents and elate Stephen Schwartz fans with its beautiful, sophisticated pictures and enclosed CD featuring the songwriter himself.

Ms. Angela Pletcher Stillson from Nappanee, Indiana, conceptualized the project having become familiar with Schwartz’s work when THE BAKER’S WIFE was produced at Amish Acres Round Barn Theatre in 1997 and guest-directed by his son, Scott Schwartz. She describes, “I set out to entwine music, art, and literature in a unique and provoking fashion that is both contemporary and enduring.” In appreciation of the arts, she recruited 18 creative souls from Alaska to Hong Kong (including Schwartz’s daughter) to illustrate the 32 glossy pages. They achieved a one-of-a-kind medley of stylized pictures leading to a hard cover collector’s volume to treasure and reflect upon.

Mr. Schwartz’s (www.stephenschwartz.com) most recent musical, WICKED, opened in the fall of 2003 and is currently running on Broadway breaking its own record for the highest grossing week in history. Winner of fifteen major awards including the Grammy Award and three Tony Awards, productions of WICKED have also broken records in London’s West End, Chicago, and Toronto. He is also known for his songs for the musicals GODSPELL, PIPPIN, THE MAGIC SHOW, THE BAKER’S WIFE, WORKING (which he also adapted and directed), CHILDREN OF EDEN, and for the Disney animated features POCAHONTAS and THE HUNCHBACK OF NOTRE DAME(in collaboration with Alan Menken), and the DreamWorks animated feature THE PRINCE OF EGYPT. For children, he has written a one-act musical, CAPTAIN LOUIE, a picture book, THE PERFECT PEACH, GEPPETTO & SON and most recently the Disney movie ENCHANTED. He has released two CDs entitled UNCHARTED TERRITORY and RELUCTANT PILGRIM, which includes his version of “The Hardest Part of Love.” Mr. Schwartz is the recipient of three Academy Awards, four Grammy Awards, and four Drama Desk Awards.

The included artists’ biographies highlight: Karen Beitar, Dee Birkey, Jessica Flores, Hannah Graber, Tim Hooker, Ann Lynn, Birdie Rossow McElroy, James McNeill Mesple, Nicole Moore, Shirley Natoli, Ramiro Rodriguez, Jessica Schwartz (Mr. Schwartz’s daughter), Doug Smith, Jeff Stillson, Laura Ury, Todd Volkmer, Rachelle Lee Witter, and Laura Zato-Clemons.

Support for this project comes from The Fetzer Institute (www.fetzer.org) whose mission is to foster awareness of the power of love and forgiveness in the emerging global community.”

A gift for special occasions including graduations, weddings, births, baptisms, and all holidays, the book is available through Mr. Schwartz’s website www.stephenschwartz.com, Amish Acres Round Barn Theatre, The Nappanee Center, specialty shops including Art & Soul (Winona Lake, IN), Pages & Ivy (Nappanee, IN), and by contacting angiestillson@mchsi.com or (574) 773-3722.

"Touch Down" for Caduceus.org

2008-03-07T16:44:00.001-05:00

“Touch Down”
2007, chiaroscuro wood block relief print
4” x 3”
limited edition of 5 prints
5 variable colors

My friend Maynard James Keenan has chosen to use the image of my print “Touch Down” as a t-shirt design for his vineyard, Caduceus. The shirts are available at his Puscifer.com web-store (look under “Drones Limited Run”). The prints from which the image is taken are available for sale from my website: RamiroRodriguez.com.

The image is from one of those oddball doodles created during some staff meeting. The image didn’t seem to have a place in any series until I decided to do the small color relief prints just for those types to get a home. It’s a pretty simple idea, playing on a mishmash of two mythic Greek characters Hermes and Achilles. You can see where my head is really at during a staff meeting when my idea of a joke is: A god coming in for a landing on earth and pricking himself on a tack.

"Fire" part II

2008-03-07T04:44:00.000-05:00

In 1995 I ended up framing a bunch of my new prints as gifts for my family’s Christmas. That year my good friend, MJK, stopped in for his yearly visit and dose of my Mom’s homemade tamales. He happened to select “Fire” as the print he liked best and went home with it. A short time later I got a call from him asking if I could re-do the image as a tondo for use as a Tool t-shirt image.

I worked the new image out using photocopies of the original print as a base to build out from. No sense in reinventing the wheel. Once I had the main image filled out to a circular composition it still needed something to contain it. The solution was a ouroboros in the style of the Olmec earth dragon. I inked out a copy and was ready to send it along when the call came from M to add a logo in the same black and white style for the front of the shirt as well. I ended up using an overhead view of the boat as a mandorla or vesica piscis shape to contain the TOOL lettering. The “Os” are formed by ripples in the water.

I believe the images ended up being printed on green and dark brown t’s and sweatshirts. I don’t think they’re produced anymore. I still see one every now and then at Tool shows and it makes me smile.

As with a few of my other images, “Fire” was later reinterpreted into the painting “Bloom (Isis)”. But that’s another story…

The Bright Eye of God

2008-03-03T11:53:00.001-05:00

Walked into work this morning (yes, I can walk in). My vehicle decided that electricity was just not something it was going to handle anymore so it is at the shop being coaxed into compliance. I can be pissed or see it as an opportunity... I can use the exercise anyway.

I was privileged to watch a most glorious sunrise while enjoying some tunes on my headphones and the occasional caw of my crow buddies. The morning was very warm and I hoped I wouldn't get caught in the rain that was forecast (I wasn't). During the walk I suddenly became aware of how much gravity was pulling on my body. I don't know if it was the backpack I was wearing or something else. I felt like a deep sea diver with lead boots. I thought of that Laurie Anderson bit where she says when we walk we are really falling and catching ourselves with each step.

Funny, but the last time I had to walk into work I was reading a lot of Jim Harrison and my thoughts became more poetic with every step. Recently I have taken to rereading some of JH's books that I own along with his newest collection of poems. JH is probably my favorite fiction writer. He writes a lot about walking in the wilderness, among other things, but his stories have a very zen-ny feel to them. I'll take the coincidence as a sign to get out more.

Spent the weekend finishing up printing some of the little prints' editions. I still have that big canvas staring me down. Soon.

Thanks to Teresa for being a great patron. Your recent print purchase will help put the serpentine belt back on my vehicle among other things.

#3 of Top Ten: "Fire" (part I)

2008-02-28T09:36:00.002-05:00

“Fire” 1994
Woodblock relief print
7 3/4 x 10 1/4”
Edition of 25

In telling about the print, “Fire”, I first have to give some background on the “Earthdiver” images that I’ve completed. “Fire” is part of what became an unintentional trio of prints that includes “Earthdiver” and “Inspiration”. I say unintentional because when I finished the “Earthdiver” print I felt the story of the figure in the bottom of the boat begged to be expanded upon. “Fire is the second image produced for the trio.

In 1993 I painted the first incarnation of the image influenced by the Earthdiver myth. That particular painting sold right out of my studio before the paint could dry (the only time that’s ever happened!) The sale was so sudden that I felt I still needed to work the image out. A few months later I created the “Earthdiver” print which eventually led to “Fire”.

The story of the Earthdiver is an ancient Native American creation/flood myth. After the inundation some surviving animals floating on a raft take turns diving to the bottom of the ocean. At the urging of one of their number (usually a bird) they attempt to retrieve some earth in order to create land. Many try and many fail until one creature, usually a small mammal, comes back half dead with a tiny bit of mud under it’s claws. This is sufficient material to create the landmass for them to recreate their world. My intention in the painting and later in the print was to anthropomorphize the creatures in the flood myth.

At the time I was thinking of the Earthdiver tale as a metaphor for the creative process. The struggle to dive the depths of the unconscious, scrape the subconscious and bring back some rich silt to grow one’s ideas on can be a difficult, tiring and sometimes fatal process. (Suddenly, I’m reminded of John Goodman running down a burning hallway yelling “I’ll show you the life of the MIND!) There are many ways the myth can be interpreted.

The figure at the bottom of the boat in “Earthdiver” represents the tired or dead creature that has failed in the first attempts to bring back the prima materia. In “Fire” there is, once again, a figure in the bottom of a leaky boat. We stare down his/her legs as if they were our own while a male figure crouches on the seat board manipulating a stick in an attempt to start a fire. The tunnel through which the boat travels is decorated in glyphs from various ages of Meso-American history. Each level is meant to represent one of the three worlds: celestial, earth and watery underworld.

As in most of my work, there are more questions posed than answers given in this image. That’s the way I like it. I like the viewer to fill in the blanks with his/her own experience and impressions. Where are we? Is the boat coming or going? Is the figure in the bottom of the boat dead or alive? What is the purpose of the fire? Are we witnessing a healing, a funeral rite or a quickening ceremony?
(to be continued)

#4 of Top Ten: "La Llorona"

2008-02-21T16:44:00.000-05:00

“La Llorona” 2004
24 x 12” woodblock relief print
edition of 25

Mexican parents have been using the legend of “La Llorona” as a cautionary tale for rambling children for decades, maybe even longer. I remember being a kid and playing with my cousins long after dark out in the fields, ponds, and streams near my home. My parents, aunts and uncles would warn us “don’t stay out too late in the dark or La Llorona will take you”. If you are not familiar with the story I refer you to a pretty good account at Wikipedia (http://en.wikipedia.org/wiki/La_Llorona). As with any good legend, the variations are endless.

This print started as a sketch to compliment my print, “Anhelo”. In “Anhelo” a male figure plunges into the water holding an undisclosed object (see 1/10&11/08 blog entries). I knew I wanted a female figure in this work so that the two would eventually bookend a third central piece to create a triptych. Up to this point the whole triptych hasn’t materialized. The associations of the submerged female figure to the Llorona legend were obvious from the start so I decided to let them be.

By October 2003 I hadn’t yet gotten around to realizing the sketch into a finished work when I got a call from Rene Yañez, curator at SomArts (http://www.somarts.org/). Rene was asking if I had anything for their annual Dia de los Muertos exhibition. The theme that year was “La Llorona”. I told him I didn’t have any installations but I did have a print that he might like. He asked me to send it over…that’s when I got down to actually cutting the block and printing one up!

I dug out my sketches once more and decided that the format would have to be tall and thin to play up the depth of the water. I searched around and found a scrap of birch plywood that had an amazing wood grain on one end. The natural wood grain suggested a beautiful water ripple effect so I readjusted my sketch to work this into the new composition and drew the image straight onto the wood.

The deadline was looming close so I had to work fast. Rather than present a whole lot of time consuming detail I chose to let the flowing vegetation become a backdrop of dark flat shapes while the figure would emerge with dimension describing cross contour lines. I used rays of straight lines emanating from one vantage point to imply a light source while creating some contrast to all the organic curving shapes and lines. This method easily brought out all the wonderful wood grain texture in the block. Shifts in density of the wood grain makes the carving tool blade dig deeper in the soft areas and shallower in the hard areas. Even though the line remains straight the grain itself is responsible for the weight of line changing and accentuating the grain/water ripple effect.

Initially, the figure was going to be holding a baby but as my wife and I were expecting our second son at the time I just couldn’t bring myself to follow the legend literally. In addition, since the piece was supposed to be a companion piece to “Anhelo” I thought the ambiguousness of the “package” in the figure’s arms would keep with the intention of the other piece as well. I’d rather leave some mystery as to what the figures hold in both prints and let the viewer fill in the blanks rather than tie it to one thing. Everyone that comes to the print has his/her idea and they are all equally relevant.

The carving took a couple of days. I printed up one good print from the block, had it framed, packed it up, and sent it on its way to Rene in California where it was included in the exhibit “Bringing Light to the Darkness” at SomArts in 2003. The rest of the edition was printed later in 2004.

5 and 6 of Top Ten

2008-02-19T04:44:00.002-05:00

“Spacetime” 1994
wood block relief print
8 9/16 x 11 5/8”
Edition of 25

I remember reading Leonard Shlain’s “Art and Physics – Parallel Visions In Space, Time and Light” at the time that the sketch for “Spacetime” came about. I would read while doing guard duty at the CAC or while sitting nights at the Cove Café where a beautiful curly haired brunette pulled the late shift. I’d listen to the eclectic music selection while drinking coffee, beer or cocktails with the other patrons and secretly wished we were all time tripping back to Paris in the 20s. The initial sketch is scratched out on the back of a blank check lifted from the shop’s pad.

The initial idea was to present an image that would combine the ideas of particles and waves in the stream of time. This was when I was working on my underwater figures series and I think the element worked nicely with the “flow of time”. The male figure’s stance is an “as above, so below” pose. The ripples he creates on the water’s surface influence/echo the circle he’s drawing on the undulating sand.

I like the element of water as a compositional device because it can imply something working beyond the picture plane. Just as in the print “Lotus” there are various levels or worlds working simultaneously. The water current has shaped the sandy landscape, the tides along with the wind above have influenced the current and the sun far above it all casts it’s influence. The man tries to make sense of it…all in good time.

“Repression” 1994
wood block relief print
8 3/8 x 11 3/4”
Edition of 25

“Repression” presents the anima manifesting herself to the surprise of the unsuspecting repressor. What exactly the male figure is holding under water is the little mystery I like to pose wherever I can in my work.

I had been reading many of Carl Gustav Jung’s collected works, Camille Paglia’s “Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson” and various studies on goddess culture. The combination of similar ideas led to this image.

I am particularly proud of the way the cross contour lines create a chevron, an attribute of the Goddess, on the female figure’s torso and the way the background flattens into a screen of sorts.

“Repression” evolved and was later re-worked into the painting “Call”. In the painting the figure emerging from the background is motioning in what Joseph Campbell called the “fear not/boon bestowing” gesture.

January 22, 2008

2008-01-23T11:33:00.001-05:00

Yesterday morning I received an invitation for a solo show. The details are still in the works but the timeline looks like sometime in the spring of 2009. It’s a great opportunity and a welcome reason to get to work.

I’d like to have a whole new body of paintings to show. I don’t have the actual measurements but the space sounds like it is quite large. I’m going to need quite a few paintings. Now with a chance to show a quantity of work all at once the thought arises. Is there going to be a theme? Consistency, or at least, an evolutionary flow is needed to hold the whole show together. Thematically, I’ve been hopping all over the place for the past few years without a thought to how all the work created in that time could (or should) work together. So, where to start?

Last night I walked into my studio and decided I had to organize before anything productive can start happening. There are still remnants of printing the small woodblocks everywhere and the cumbersome coffin is filling up floor space. Where am I going to store that thing now? I haven’t had the chance (or is it courage?) to try and pull it apart so I can reprint the side panels. So it sits in the middle of the floor still in one piece.

First I set a couple of beers to chill in the window sill, cranked up some tunes and started looking for order. I moved some boxes around, put prints away, and restacked the mass of cds that multiply on any horizontal space (one of these days I’m getting me an iPod), moved and installed some shelving, and re-stacked stretchers and wood. I pulled out the stretched and gessoed 65 x 87” canvas I’ve had kicking around for a while and hung it on the wall. Finally, after some order had been restored to the space I had time to ponder what to do next while I sat and enjoyed a nearly frozen brew.

In the middle of taking a sip I happened to catch the contour of a figure appear in the play of light raking over my uneven gesso ground. Not just any figure either, I recognized this guy. He’s in one of my sketches done around the time I was working on a digital sketch for “Anhelo”. I quickly pulled some old sketchbooks off the shelf and began leafing through, all the while casting sidelong glances at the figure materializing on the “blank” canvas.

Now, I don’t normally start my work in this fashion but it has occurred from time to time. The painting “Exchange” is one of those images that just “appeared” one day as I glanced over at a blank canvas. I don’t know if I’ll end up using the idea but I figured I should at least acknowledge and follow any suggestion the universe throws at me at this point. In the end, looking through the sketchbooks for the sketch I remembered allowed me to find and reconsider about 6 old ideas from the same time period as possible compositions to work on. Not a bad start considering just a few hours before I had been racking my brain for somewhere to start.

“Salud” to the Universe. I’m strapped in. Let’s see where it goes…

#7 of Top Ten: "Crossing(Loa)"

2008-01-17T15:35:00.000-05:00

“Crossing(Loa)” 1994
Wood block relief print, 7 7/8 x 11 1/8”
Edition of 25

“Crossing(Loa)” is an example of the cross pollination that began to occur between my paintings and prints in 1994. With scraps of birch plywood from my day job I began to make prints in my Cincinnati apartment. I was without a studio, proper ventilated area or means to continue painting. I began experimenting with techniques on the wood to see how I could find an adequate means to reproduce the images I had in my head. I decided to re-examine and re-interpret a couple of painting images in print form to see how they stood up. “Crossing(Loa)”, “Almus”, and “Earthdiver” were some images that got the re-examination treatment. Some print images, like “Fire”, “Repression”, and “Whisper” eventually worked in the opposite direction and became paintings.

The painting, “Crossing (coyote)” has always been one of my favorites. That painting combined quite a few ideas I had floating through my head at the time: genetics, gender relationships, heritage and history. I remember the original idea came from the serendipitous melding of a book I was reading and a song lyric. The book was Maya Deren’s “Divine Horsemen: the Living Gods of Haiti” and the song was “Kiss of Life” by Peter Gabriel. The lightbulb went on when I realized that part of the song, like the book, was describing an important aspect of Haitian Vodou religion rites. The image that intrigued me was based on practitioners’ belief that the Loa (intermediaries of the deities) mount (possess) the ritualist and “ride” him/her as a rider rides a horse. The literal interpretation of this image intrigued me and I set about sketching different ways of presenting it. In the meantime many other associations of “crossing” began to enter my mind as I worked out the specifics of the composition. Once again the St. Christopher reference is present but the piece also playfully nods to the story of the scorpion and the frog, my cultural heritage and my family’s migration (hence “coyote”), as well as, a visual pun for x and y chromosomes.

When it came time to re-interpret the painting as a relief print I resorted to the use of cross contour lines, as in “Chasing Thoughts…”, to describe a figure. I wanted a clear distinction between the two figures in order to imply the “otherworldliness” of the Loa. The concentric flowing lines creating volume in the female figure become a nice contrast to looser sketchy lines describing the male figure. I wasn’t concerned with the mirroring of the painting’s direction that occurs in the print. This is the clear connection of having drawn the block in the same orientation as the painting and then having it print in reverse in the transfer of ink to paper.

#8 of Top Ten: "Ringcrow"

2008-01-16T15:04:00.000-05:00

“Ringcrow” 2007
3 x 4” chiaroscuro relief print
5 variable editions of 5

Crows and ravens have always fascinated me. I love their black shapes cutting across the sky, their raucous calls, their mystique and their intelligence. I know many people that think that crows are evil or dangerous. I like that they serve as instigators and clever tricksters in Native American myths, companions of Odin in Norse myths and land finders in the Epic of Gilgamesh.

These black birds have always brought a smile to my face no matter where I may be. When I lived in Cincinnati a murder of crows would arrive by the hundreds (maybe thousands)to roost in the trees of Mount Adams. Their pops, gurgles and snapping language would greet me in the morning as I went to work at the Art Museum and again at night as I left for home. I have to wonder if the famous Rookwood Pottery studio just up the road took it’s name from the annual arrival of these magnificent birds.

“Ringcrow” is a simple ode to those pursuers of shiny things. In this case the little thief has captured someone’s ring. A wedding band perhaps?

The prints in this particular series entitled “Unfinished Stories” were my first attempts at multi-block multi-color relief prints. The color editions are small, just 5 (sometimes 6) prints per color with a total of 5 color runs per print. I like the way a different color will change the mood of the image even if ever so slightly.

#9 of Top 10: "Lotus"

2008-01-15T08:30:00.000-05:00

“Lotus”, 2000
Serigraph
12 7/8” x 8 3/4”
Edition of 20

Lotus is another image that kicked around for a long time before it found the proper medium to present it. I love the metaphor of the lotus- a plant that lives in three worlds (mud/water/air) and represents the four elements (earth, water, air and fire (sun)). I’m interested in the flower as a metaphor for the awakening of consciousness. I had attempted a painting of the same image back in 1992 but didn’t feel that it conveyed the feeling I was going for. I was always hoping to give it another go at some point.

In the winter of 1999 I was introduced to Malaquias Montoya (http://www.malaquiasmontoya.com). Malaquias is an artist of great conviction, as well as, a font of information on screen printing (or serigraphy) and the Chicano art movement. The University of Notre Dame had invited Malaquias as a visiting professor to teach screen printing for a semester. I couldn’t pass up the opportunity to learn from a master so I arranged my work schedule to attend his morning class.

Serigraphy turned out to be the missing link I had searched for between painting and color printmaking. Malaquias’ instruction helped me bridge the gap between the two mediums by showing me that you could be as tight or as loose as you wanted to be when making images with the screen. I loved the immediacy that the water borne inks allowed when layering colors.

When it came time to work on some images I pulled out some old sketches as reference for something new. I thought I would revisit the lotus idea and try one last time to get it right.

I used one screen and a stop out method to paint out the various layers of color. Using this method I first chose what was going to remain white on the page and blocked that out with some screen filler and ran a light yellow tint. Next, I chose what areas of the yellow were going to remain blocked them out and printed the next color. This process continued – light to dark and always on the same screen. I would block out more and more with a brush to give it a loose painting feel and to limit where the next color would lay. I worked on this most of the day and into the evening. I remember Malaquias coming in the next morning and asking how many colors I had pulled. I told him I had lost count after 18 and he laughed in amazement (at my tenaciousness, I think). I couldn’t help myself. Every time I put down another tone I would see where I could push the area some more. I finally had to stop when the stop-out I had used started to break down. The only other screen I used was for a tonal overlay on the figure to give him a little more definition.

Malaquias Montoya was, and continues to be, an inspiration to me - not only as an artist but as a person. He’s constantly working and is a prolific artist. During the class he could always be found in the lab working on his own prints but willing to help someone out with technical questions whenever possible. It was an enlightening experience to see this man work and encourage the students in the class. Our friendship has continued since that class and I always look forward to see what new work he is doing.

Some of the prints that I created during the semester I attended his class were: Lotus, Dowser Drowse, Corazon, Bendicion and Tamaleros.

"Anhelo" Part II or Anatomy of a Print...

2008-01-11T12:21:00.000-05:00

In March of 2004 I had the honor of being one of the 18 artists selected to be part of the 11th Serie Project at Coronado Studio in Austin, Texas. The week of Monday March 15 – Saturday the 20th was spent printing the print “Anhelo”. I traveled to Austin with anticipation of working on a new print in a new environment and among new acquaintances. I took along some tunes, a digitally drawn color image, a to-scale printout of my idea as reference for creating the print and an open mind. I worked with master printer, Satch Grimley. Satch was great at intuiting what I had in mind and worked with great dedication mixing and pulling colors for the print. I also had in mind catching a few performances at the yearly South by Southwest music festival.

Monday Satch cut down paper, set registrations and prepared screens while I did some ebony pencil tone drawing on textured mylar. We decided four basic color break-outs were needed for a good base to start from so I did a lot of drawing the first two days.

Tuesday Satch and Coronado intern, Dominic Pagalilanan, started pulling transparent layers of background colors. They layered the four basic colors as I worked up the mylar drawings for transfer onto the separate screens. We strayed from the original print idea by creating a border effect around the main image (which ended up putting us a couple of inches over the Serie Project’s maximum image size standard.)

Wednesday printing continued. More transparent layers were laid down bringing more definition to the figure and background areas. I worked into some of the drawings on mylar with India ink and used these to shoot new screens. The ink made a stronger contrast in blocking out the screen and helped get more concentrated areas of color. Wednesday night Satch and I caught some of the SXSW shows in downtown Austin. The standout performances were by the Futureheads and Destroyer.

Thursday we continue to define areas with more transparent layers. I am suddenly aware that time is short. Satch and I both conclude that doing the ebony drawing on mylar took up more valuable time than necessary so we have to make that up somehow. My flight out is early Sunday morning and the prints need to be done before then. Thursday night Dominic and I head downtown to catch some more of the SXSW. I met up with one of my old Art Academy student turned rockstar, Patrick Keeler (from The Greenhornes and now The Raconteurs.)

Friday we put in the longest day ever. Satch amazes me by pulling many colors this day. Around 1:00 a.m. (Saturday) we called it quits as we were both wiped out and starting to lose focus. I liked where we were but I could see the image needed to be pushed and pulled in a few areas to really make it work. I was worried because Satch had prior commitments of his own at Flatstock and I didn’t know if the print would be finished to my satisfaction. During the day my old high school buddy McCleod shows up but I'm too far behind and busy to really get a chance to talk to him. We plan a time to meet later that night but printing late causes me to miss that meeting.

Saturday morning Sam comes in and we talk over the status of the print. Sam agreed that the print needed a few more steps. He made a call to Marie, the wonder woman. While Sam and Marie shot more screens, mixed more colors and pulled more layers I blocked out more templates. Late in the evening I got into pulling some colors myself. We worked the whole day until 10:00 p.m. or so. Finally we got to where I was satisfied with the print. But we still weren’t done. Our next steps included selecting the prints for the edition, signing them all and adding the Coronado chop mark.

Over all this was a great experience for me. A whole week in total working environment is really a luxury for me at this point of my career. I’d like to thank Sam Coronado and all the staff at the studio for being so generous and kind towards me while we produced this print: Satch Grimley, Marie Garza, Leah Hesla, Dana McBride and Dominic Pagalilanan. I would also like to thank Gilberto Cardenas and Notre Dame University’s Latino Studies for sponsoring my trip to and from Austin and making this endeavor possible. A special thanks goes to Marie Garza for photographing the process.

#10 of Top 10: "Anhelo" (part I)

2008-01-10T09:49:00.000-05:00

“Anhelo”
2004, 26 x 16”, serigraph print
edition 65
Printed at Coronado Studio, Austin, TX

“Anhelo” is one of those images that had a long gestation period and continues to haunt me. To date I have made three versions of this image (a digital painting in photoshop, a charcoal drawing, and a serigraph print.) I think the initial idea came to me back in 1993 when I was creating my underwater series, but it wasn’t until much later that I actually committed a sketch to paper (a doodle really, in the margins of one of my work calendars during a staff meeting). The plunge was the basic aspect I wanted to represent. Cannonball, bubbles billowing overhead, a bubble tornado – a disturbance in the calm.

Later, the idea grew. I wanted there to be a purpose to the plunge some action that would pose a bigger question. The figure began to hold onto something. The thing was either going to help or hinder him. In the end the “thing” grew to represent that which one holds onto, stubbornly, far past the point where it’s good for you. Will you let it go – or will you let it drag you down?

The title is the bow on the package. Anhelo is the Spanish word for desire or longing.

#11 of Top Ten: "Chris Cross"

2008-01-04T09:07:00.000-05:00

“Chris Cross”
2005, 11 x 11” wood block relief print
edition of 25

This print was created along with three others for an exhibit at The Moreau Gallery at Saint Mary’s University in 2005. The four were part of a small series based on my hopes, dreams, fears and wishes for my two small sons. The other three prints are: “Bendicion”, “Trenza (self portrait)” and “TV (fear).”

“Chris Cross” represents my concern over the contamination and destruction of our environment as it relates to future generations. There’s nothing too subtle about the image – there’s the polluted water, the deforested landscape and in the background a billowing cloud from nuclear reactors. When the idea first came to me I knew I wanted a person crossing a river. The crossing theme is one I’ve come back to more than once in my work (see “Memoria”, “Umbral”, and “Crossing (coyote)” as examples). What I wanted to do was contrast the idea with some mythic references to give it some depth. One day while I was driving around the idea flashed on how I could accomplish this. St. Christopher would be crossing the river.

I’ve always liked the Christopher legend. (I won’t give you the whole thing you can Wikipedia it.) I liked the giant and child aspect, the weight of the world in the Christ child’s person, the pun name (Christos = Christ, pherein = bear across …Christ carrier). I thought that it would be interesting to see Christopher try to ferry JC across a filthy polluted river. Even with his rubber waders the giant has paid a toll as evidenced by his lesion pocked skin. It can’t all be grim though. Just like in the legend there is the hope that the giant’s staff will flower again.

A couple of nods are given to two of my favorite artists, Edvard Munch and Dr. Seuss. I’m sure you’ll have no trouble picking those out.

"There are places I remember..."

2008-01-03T10:31:00.001-05:00

2008, January 2

I spent most of my time off from work traveling and visiting people. First up to the U.P. (Upper Peninsula of Michigan Eh!) for Christmas and then to West MI to visit my family and some friends. I wasn’t able to get to everyone I wanted to see. By the end of all the traveling (with two rambunctious boys), eating and sleeping in other people’s houses, and overloads of both good and bad food (sometimes it’s hard being a veggie in a carnivorous world)…I was glad to be home. And I thought I was going to get some studio time somewhere in there…riiiiiiight.

One very cool thing I did was visit with my longtime friend, Sue. Sue and I go way back. She was not only my middle school art teacher she was also my art teacher for the last two years of high school. What cemented our friendship was a mutual love for all things Beatles (and art of course!) Sue has been one of the influential persons in my life that kept me on the art-making track through the weird teenage years and beyond.

A bonus to meeting up with Sue again was seeing and spending time in her Beatles shrine (my description). She and her late husband have been big collectors of Beatles music and memorabilia since they were quite young. Sue has been busy over the last months since her retirement organizing the huge collection. I could spend days in that room – hundreds of books, buttons, figurines, pictures, and music! Along with her own Beatles inspired artwork there’s hundreds of vinyl records, cds, tapes, you name it – a Beatlemaniac’s delite.

I loved to draw and I loved Beatles music before my 11-year old self ever walked into her classroom but Sue’s enthusiasm, passion, and encouragement were contagious forces that led me to pursue an art career. Thanks Sue.

#12 of the TOP TEN:

2007-12-11T15:11:00.001-05:00

I tallied up the votes from my myspace friends and had a tie in the last four prints people wanted to know about. So, instead of a "Top 10" you'll get a "Top 12". I'll begin with number 12:

“Chasing Thoughts…”, 1993, woodblock relief print, 11 1/8 x 7 7/8”

In the winter of 1993 I had just completed graduate school, had no studio to paint in, and little money to my name. At Christmas time I wanted to make something for my family in lieu of having to buy presents. I had scrap wood I’d salvaged from the arts center I worked at so I decided to make a relief print that I could print by hand in my apartment. My first attempt was “Volador” which I loved, however, it’s 18 x 24” size was way too much work to print by hand in time for that particular Christmas. “Chasing Thoughts…” was the second and smaller attempt.

The idea for making prints instead of painting meant a change in my method of working. I wanted the prints to be radically different in process from my standard way of working. I didn’t want to spend many hours and days making studies and references for life like accuracy. I wanted the pieces to be immediate and not necessarily true to life in subject matter and presentation. I wanted to go with an initial impulse with little editing. I also chose to work from memory in describing the figures and environments. Dreams, memories and out of context ideas left in sketchbooks were to be the source for images.

The initial idea for “Chasing Thoughts…” came from a dream I had in which a guru-like man was talking to a group of people on the second floor of an apartment house. He sat cross-legged, with his back to a wall, while many people sat in front facing him. As he spoke to those gathered around I was stuck outside on the balcony peering in through the sliding glass doors. An old friend came up the stairs intending to sit in but we began to talk and catch up instead. In the end, we both missed the discussion.

The rest of the dream unfolded in a dramatic way until I awoke. The rest of the day I carried on at my job but couldn’t shake the persistent memory of the dream and a feeling that I had missed out on some really important message being transmitted by the guru-man. At some point during the day a song came on the player that suddenly locked together with the dream residue and formed an immediate image in my head. The song was “Secret Journey” by the Police. The whole song resonated with my feelings associated with the dream but the line that got me was:
“…And on the days that followed
I listened to his words
I strained to understand him
I chased his thoughts like birds…”

Most images I work out take hard effort to come up with, but every once in a while an image presents itself in an almost fully realized way. This image was one of the latter. I envisioned a literal interpretation of the song lyric, saw the figures, saw the birds emerging from someone’s head and I saw the vantage point. I made a quick notation in my sketchbook so as not to forget it and waited anxiously to get home in order to work it out on the block.

Once home I drew out the image on a block in pencil and prepared to carve. At once, the problem arose as to how to represent the figures as volumetric forms with only line to work with. For the longest time I had been working predominately in paint where I could blend and glaze to create volume. Representational relief printing had always seemed so flat and boring to me when I studied in school, which is one of the reasons I avoided it. I recalled my love of M.C. Escher prints and how he used contour line to magnificently describe objects. I knew this was the way to go for me as well. I would use the weight of line and cross contour to give me the volume, dimension, and patterning that I sought. I also included stipple marks as a contrast to all the linear and planar forms. I love to play at contrasts for a fuller range of possibilities: black and white, curve and straight line, flat and volume, chaos and order, movement and calm, etc.

The bird’s eye view composition is based on a spiral superimposed on an intersecting diagonal structure. My intention was to keep the viewer’s eye in constant motion from one side of the picture plane to another and from the outside to the “bird in hand” and back out again.

I am really pleased with the result and my family was too. Initially I printed up 25 prints for my family on a tableau paper. I later printed up a second edition of 25 on Sumi paper that I have available for sale on my website: RamiroRodriguez.com.

Prints and Sides

2007-12-05T15:15:00.001-05:00

Last night in the studio I printed out 6 more sets of the 3x4" prints while watching the snow quickly accumulate outside. I made various variations of a violet color to use on "Air", "Bubble", "Annunciation", "Sh!tbag" and "Nullify".

All the while listening to my freshly received "Side Four Live" by Adrian Belew

This cd rocks!

First impressions:

Adrian Belew (and the Power Trio)
Side Four (Live)

Ade’s powerhouse trio kicks off with a frenetic yet tasty “Writing on the Wall” that is solidly grounded by Julie Slick’s bottom end. Makes me wonder if this is why the young woman wears no shoes on stage – perhaps to keep Adrian and her brother Eric’s fast paced chops from sailing off through the roof.
An old Crimson favorite from THRAK, “Dinosaur” comes next. The composition gets some new twists from the Trio, mainly substituting the synth guitar break for some signature Belew dino blasts. The Power Trio does the Double Trio proud.
The main groove of “Ampersand” gets more of an ebb and flow feel than the previous “Sides” cd versions. The drumming is not as busy yet still powerful with the right amount of finesse.
“Young Lions” has all the galloping jungle rhythm of the cd version. An added, almost bolero-esque, break provides the base for some crazy Belew guitar pyrotechnics.
Eric leads off “Beat Box Guitar” with some fine high-hat sticking. The trio has really expanded this gem into a highlight jam platform. The talented Slick rhythm section really holds it down while Adrian works over the top with an assorted bag of guitar sounds that are pure Belew. However this isn’t just a showcase for Ade, the three musicians really lock in with some great interplay and even drop in a “Discipline” nod.
Adrian’s layered backwards guitar sound on “Matchless Man” is one of the most strangely beautiful effects I’ve ever heard.
Eric and Julie lay down the ominous grounding groove to one of the harder songs for me to listen to on cd - “A Little Madness.” It’s difficult listening for sure. Live, however, this beast builds with the layered architecture of maddening looped Belew wailings. The live experience feel is excellently captured on Side Four and this track is the proof of the quality engineering and mastering done by John Sinks and John Zonana respectively.
The hypnotic, “Drive,” allows an intermission of sorts as the Slicks take a breather. Adrian accompanies himself via rhythms built from loops. My very favorite part in this solo piece speaks to my inner Beatlemaniac - the “Within You Without You” reference. Wow!
The Slicks rejoin Ade for a rollicking “Of Bow and Drum” complete with ghost harmony vocals by Biff Blumfumgagne. I’ve always loved the pinched squeal of the guitar on this piece but it’s Belew’s attention to contrast in texture that really makes it for me. Julie and Eric’s groove at the end is a treat as well.
The re-vamped, big drum sound of “Big Electric Cat” made me think I was going to hear “Gun Man” for the first few beats. The update polishes up this older favorite.
Two classic 80’s Crimson songs played as encores during the tour close out the cd. “Three of a Perfect Pair” is probably my favorite KC tune and watching/hearing Adrian playing his and Robert’s parts while singing in odd time is amazing. Julie’s playing and rich sound should make Tony smile. A short nod in the “Frame by Frame” direction is fun to hear as well.
A run through “Thela Hun Ginjeet” makes for the perfect leave-them-wanting-more ending to a great set and cd. Adrian is always a pleasure to experience live. I’ve seen him many times over the years with Crimson, the Bears and solo. Every time I’ve seen him play he always looks like he’s having the time of his life on stage. It’s nice to hear a recording that captures that sense of satisfaction. Time to hit repeat.

Spin it again

2007-11-28T09:32:00.001-05:00

My buddy Maynard is interviewed in December's issue of SPIN.
My painting "Caduceus" gets a mention too.

http://www.spin.com/features/magazine/2007/11/0712_ipuscifer/

Prints for the Holidays

2007-11-27T07:52:00.000-05:00

People have been asking so I thought I would place the info here:

The 3x4" color relief prints that you see in my photos section are available for sale. Just $50 a piece plus $15 s/h while supplies last.

Order as many as you want but remember that these are very small editions of each color (5 or 6 per color) so they may go quickly. Each print is mailed out unframed and in a secure rigid holder. Get your orders in now if you'd like to have one or more before the holidaze.

Here's how:
send me and email address and the title and quantity of the print(s) you want to info@ramirorodriguez.com and I can invoice you through paypal, or if you prefer, I'll email you an order form that you can mail in with your payment. Sorry, I'm not set up for credit cards.

And as always, my other prints are available as well at my website RamiroRodriguez.com

Peace

Questions and Answers

2007-11-14T10:19:00.000-05:00

My "friends" at myspace asked some questions about my work.

Ramiro Rodriguez Question and Answer

Waking up from the American Dream asked:
“Have psychedelic drugs played a major role in inspiring your art? I have found that through the use of such substances I have an increased sense of creativity and visual capacity for artwork that I create.”

While most things in my life play a role in contributing to my art making I wouldn’t say that drugs play a major role in inspiring my art. I just don’t have the stamina (or time) to mix the two. However, I do drink a lot of coffee while working.

Jimmy asked:
“Got any more plans on working with Tool?? On a shirt or maybe designing something for that "live dvd" we are all awaiting..?”

If they ask I will be happy to oblige. I haven’t had any requests lately. Whatever they do, I’m sure will look fantastic.

Th3rd3y3 and EHNB (scott) asked:
“What is your inspiration?”
I try to be open to inspiration from wherever it chooses to come from. I help it along by reading stuff that interests me, listening to all sorts of music, watching interesting films, having discussions with great friends that talk about ideas, my wife usually brings things to my attention that I may have otherwise missed, watching my boys and family, etc.

U4icide asked:
“How do you overcome days/weeks/months where you feel uninspired or unmotivated?”
It’s really difficult but I try not to get too down on myself. Everything works in cycles and there has to be some recoup time before a swing into action. When I can’t think of anything I try not to, that is, I do something else, turn my attention elsewhere and try to ingest things that will feed the creative impulse – watch a show, listen to some music, read, sketch, go talk to people. Sometimes I just try boning up on my skills or just go back to working on something that was left unfinished in order to find a place to re-launch from.

Sonya asked:
“How much importance do you place on the formal training you received in your artistic area? Do you feel that it (college art classes, apprenticeships, etc.) are beneficial? Needed? Required? Or do you feel that it could possibly stifle one's creativity because they are constantly being influenced by outisde points of view? I ask this in reference to style, ideas, etc.”

I place great importance on the training I got. Everyone is different but I don’t think anyone learns much in a vacuum. Being in contact with others who are working toward similar goals helps one realize things faster than if one slugs away at it alone. As far as being stifled, I think imposed parameters can only feed the creative output. Creative people always find a way to work around those restrictions. I think that is when some of the best stuff is created.

Beth asked:
“How old were you when you decided to be an artist? Are you kids as artistic as you?”

I’ve always liked drawing some of my earliest memories are of drawing on the insides of paper flour bags. I’ve been blessed with a very supportive family who always reinforced my strengths. They kept saying I was probably going to be an artist and eventually I believed it too.
My boys have artistic streaks in them. How far they take it is entirely up to them. Having two artistic parents certainly doesn’t hurt.

Somebody, Somewhere (tali) asked:
“if you could live one other person's life, and then go back to yours and live yours again, who would it be and how different do you think yours would have ended up as a result of it?”

I don’t think I could live someone else’s life. I believe I’m here for the one I got and should make the most of it. For the sake of your question I’ll say: One of my great grandparent’s life. I think that it would give great direct insight into what made me what I am.

Lea asked:
“Your work is an obvious expression of your interpretations of: consciousness, spiritual exploration, the human condition, sensory perception etc., so what, if any, "answers" about existence have you learned in your life and/or artistic endeavors?”

I don’t know that I have any definite answers but the posing of questions has been most interesting. My work is more about trying to express some of the questions in various forms in order to get more thought energy involved, both from the viewer and myself. I believe everything is a vibration and we are all more connected than we realize.

Sinji (Christophe) asked:
“I'd like to know more about where you're coming from, your studies and when you discovered how to express your works at best.”

If it’s a resumé you want you can see it at RamiroRodriguez.com. Where I’m coming from: I’m just trying to create images that I want to see out in the world. I happen to come from the “go with what you know” school of thought. Therefore, most of the ideas for my work are drawn from my interests in world myth, the Jungian concept of a collective unconscious, meaning in everyday occurrences, ritual and a search for self.
The process of discovering how to best express my ideas is ongoing. I’m always looking for a better way to show something – that’s half the fun.

Holy Pink Floyd asked:
“How has your work evolved over time & where do you see it going in the future?”

My skills and technique have improved with time and practice, my ideas evolve as my view of the world changes with age and experience. The “grand scheme” ideas have been pulled closer to myself and are much more personal than before. I don’t know where the work is going exactly. There are projects I’d like to accomplish, like more painting, installation and film. I just hope that I continue to have the opportunity to do what I love to do.

Jonna asked:
“do you listen to music while you work? if so, do you let it take you in unexpected directions?--maybe different that your initial inspiration/intention/direction?”

Oh yes! I can’t live without music. There is always music playing when I work. Music is my muse. I try to remain open to wherever a particular piece wants to go. Yes, sometimes music has often times presented a solution or direction for a particular piece.

JasonPaul asked:
“what piece of art that you've done do you think you will be the most remembered for, or perhaps the most 'timeless'?”

I hope I haven’t made it yet but right now it is probably for “Caduceus” which has been used for the Tool poster and inspired the name of Maynard’s wine line.

Tom Burns asked:
“what are your favourite linoleum blocks to cut from? (brand)
how do you register multi colored prints?”

I don’t have any favorite linoleum. I’ve tried regular floor linoleum, shoe rubber and stuff from Daniel Smith. I don’t really use it much. I prefer wood - poplar or birch faced plywood. The poplar has a much nicer grain than the birch but may be harder to find.
Registering blocks: I have only started to do multi colored prints with multiple blocks so I’m still perfecting my method. However, I’ve found that building a jig that will hold the block on two sides as well as account for the overall size of the paper. I work backwards. First I carve the block that has the line work, ink that and transfer to a sheet of waxpaper using the sides of the jig to line up the waxpaper to the block. Next I place a new block on the jig, line up the printed waxpaper and transfer that image onto the new block. This way I know both blocks will match where they need to be. Once the color blocks have been cut using this matching method I use the same jig to help me print the final color runs.

Shaun Buehler asked:
“What, in your opinion is at the root of your fascination with submersion in water? Is there any singular event, maybe traumatic, or subconscious, that you are referencing?”

Probably that I floated in amniotic fluid for 9 months…
It’s an ongoing search for that answer but I have always lived and spent most of my youth playing around water (streams, lakes, ponds). It’s a gentle yet powerful force, we have approximately the same ratio in our bodies as the globe has on its surface, the list goes on. I’ll refer you to my website for some more on that subject.

Nic asked:
“In your early paintings, do you see yourself inside the people, meaning are you conveying your feelings (about your life) to us as the viewer, and what does the water represent to you?”

Yes. Water is life, death, womb, tomb, the feminine, the unconscious, etc. I’ll refer you to my website for more on this @ RamiroRodriguez.com

JW asked:
“What is the most rewarding part of your art for you: the cathardic expression in creating, seeing the finished product after all of the work, or public response to the end product?"

All of the above, however, the process and seeing the finished image can’t be beat.

Marisa Silos asked:
“What were you thinking about when you were working on your newest pieces?”

My “antepasados”, my ancestors and what they went through in their lives that make me what I am. What will my contribution be to this world, what will my son’s contribution be, what will their children’s contribution be?

Junko asked:
"Are the themes for your work defined before or after you finish it? In other words, do make your art based on your stories or do you see the stories after you look at your finished piece(or find new aspect of it)?"

Both, sometimes I know what I want the work to say, other times I have no idea what the image that presented itself means. Through the working process and inner dialogue I usually come up with an answer to what the piece is trying to tell me. There are some images that don’t present an answer…maybe they weren’t for me?

Corn on the Cob asked:
“what possesses you to paint the things you do? where's your head at? how do you bring what's inside outside? because i paint too and i have trouble turning myself inside out because there's so much going on in me that its overwhelming and sometimes i can't bring it out so it stays in and makes shit really hard.”

I may have answered this already. I don’t think I turn myself inside out, I have to keep something for myself. If it’s making it “really hard” then I say, “better out than in.” Bring some light to it.

Nobody asked:
"How do you know when you're done? Do you feel done, or do you feel like you can always make changes?"

To know when you are done it is best to have an idea of what you want to accomplish before you start making marks. Intention is an important part of art making for me. That being said, I always think I can improve on a piece once it is “complete”. Best to just move on to another work.
Also, you’re done when the gallery is waiting to pick up the works for the show… :)

Happy Now asked:
“What about Formalists...the aesthetic approach, the concept of disinterestedness, and the concept of not containing a concept? Should the entire explination be there for the viewer, is it all experience here and now? Should the work reflect life outside of itself? How could an image transend the viewer with aesthetics and emotion alone? Does it take and idea, a preconcieved notion, some "viewer baggage" to understand your work? Should it?”

I don’t know. I like the viewer to do some work too.

Riomar

2007-11-06T08:40:00.000-05:00

November 6, 2007

It’s hard to believe that a year ago today I was up early and enjoying a cup of coffee while I watched the sun rise over the Dominican Republic. My friend since graduate school, Raul Miyar, had arranged for me to visit Los Altos de Chavon for a week and give a relief printing workshop to the students there. It was one of the best experiences I’ve ever had. The Dominican people are warm and friendly and everyone at the school was generous and gracious. One year later and the D.R. is trying to recover from Noel blowing through last week and wreaking havoc. Today my thoughts are with all my friends who may be suffering in the Dominican Republic.

One of a few revelations I had while in the D.R. occurred on my last day there. My friend David was driving me to catch my shuttle to the airport when a sign I had passed a few times during my stay caught my eye. The sign stated directions to various wealthy subdivisions near the beach including one called “Riomar”. In a flash I read it as an anagram for my name, Ramiro. This was something I had never thought of in all the years of my life and for one that has spent the last 16 years, or so, mining the significance of water in his artwork it was a stunning revelation. Rio (river) Mar (sea)

The whole reason for me being in the D.R. seemed like one big coincidence but everything felt like it was as it should be. Firstly, one of Raul’s students, Tomas, was a big Tool fan and had seen my website because of the band. He asked Raul on one occasion if he had ever heard of this artist, Ramiro Rodriguez. Raul responded that he did know of a R.R. and when he saw my website recognized the work as his grad school friend. The other reason Raul would recognize the work is because he is the model for most of the male figures in the underwater paintings. So, one thing led to another. Raul contacted me, we caught up, he asked if I still printed and would I like to come down to give a workshop. I agreed right away and made my way down.

Raul is a great person to be around. There is an almost zen-like presence to him that seems to radiate calm. One of the first things he said to me when I arrived was “I always knew you would come here.” This surprised me because I had lost track of Raul after grad school and hadn’t seen him in more than 10 years. “I just had a feeling” he said. Well, his feeling was right. I can’t wait to visit again and see what else comes about.

In other news: Pablo Ros of the South Bend Tribune wrote a story on my Dia de los Muertos installation. Read it HERE