"These jewel-like paintings intuitively fuse different aesthetic traditions, folk art and old master, with natural grace and an uncanny quality that may be a species of magic." —American Arts Quarterly
“The Runaways” 40×30 inches, acrylic and watercolor on panel SOLD
The genesis for these came from some watercolor and gouache sketches (experiments rather) that I’ve been playing with for the last couple of years. See the drawing and in progress photos I took along the way…
“The Runaways” graphite on paper, 17×14 inches
in progress photos:
Pictured above is a watercolor box from Kremer Pigmente. I’d like to try out their pan watercolors in the future. Brushes are Escoda Perla and Trekell golden taklon. Paints are various brands including Winsor and Newton, Holbein Irodori Antique, Rublev Natural Pigments and Daniel Smith. Support is Ampersand 2-inch cradled aquabord. Acrylics are Golden Fluid Matte and varnish are Krylon UV Clear Acrylic Coating and Gamblin GamVar.
“A Long List of Offenses”
10×8 inches, oil on panel
Rubens closely guarded his drawings as studio secrets and never showed them to the public. He thought they revealed too much of his labor. My own drawings often show a multitude of offenses and corrections… all of which are a visual record of how I think and compose. Drawings expose the evolution of one’s thoughts. Here is the compositional drawing for “A Long List of Offenses”
Fatima Ronquillo’s quirky, instantly engaging fantasy portraits are small enough to stand on a table, and one was so displayed near the entrance of the Meyer Gallery when we called. It was fascinating to watch visitors respond to it. Ronquillo is self taught, which may explain why instead of gathering specific techniques in isolation, she’s lifted entire manners, which she combines in winning new combinations. Her figures borrow from Latin American magic realists like Fernando Botero, while her backgrounds recall the proto-landscapes of Leonardo and Giorgione. The uniform worn by the girl in “Lucy and Majorette” acquires an unsettling quality as much from resemblance to the pretentious, overly-ornamental uniforms worn by South American dictators as from the presence of this vulnerable, white outfit in a dark, looming forest. Yet most disturbing, because most disturbed, is the serious way this young woman holds in her arms not just a spotted pig, but a winged, spotted pig, cradled in her arms in a way that draws attention to the bright red ring she wears on her index finger. Another gallery visitor rushed up to one of these gems enthusiastically, and then, after closer examination, shuddered and mumbled a quiet demurral. A moment later, after a discussion of some of its references—for example, that ”Viola in Disguise,” with the curly evidence of a self–inflicted haircut still clinging to her borrowed uniform, refers to “Twelfth Night”—her excitement rekindled itself.
In spite of the odd stories they enact in strange circumstances, Ronquillo’s women maintain a feeling of repose…..