Page 57 - The MoMA/ Guggenheim issue of World of Art magazine (2001)

!24)34 02/&),% -!2,)% "524/. 2/#(% #!.!$!

WHILE WORKING IN THE CONTROL ZONES
-Y ARTWORK HAS BECOME A DIRECT RESULT OF MY
EXPERIENCE IN #ENTRAL !MERICA NOT ONLY AS AN
EXPRESSION OF THE TERROR PROMULGATED BY THE
GOVERNMENT SPONSORED MILITARY POLICE AND DEATH
SQUADS BUT ALSO THE INCREDIBLE RESILIENCE OF THE
3ALVADORAN PEOPLE AND THEIR DETERMINATION TO SEE
THE DAY OF TRUE POLITICAL AND ECONOMIC JUSTICE AND
FREEDOM !ND MAY ) ADD HERE THAT WE ARE FAR FROM
THIS GOAL IN SPITE OF THE SIGNING OF THE 0EACE !CCORDS
IN 4HE IMPOSITION OF MARKET ECONOMICS AND
GLOBALIZATION WHICH PROMOTES SOCIO ECONOMIC
POLICIES THAT NEGATIVELY AFFECT THE HUMAN MAJORITY
AND SUBMITS PEOPLE TO A LIFE OF HUNGER AND POVERTY
ARE AS MUCH A FORM OF TERRORISM AS STATE TERRORISM
THROUGH MILITARY ACTION
-Y ARTWORK HAS BEEN DESCRIBED AS ABSTRACT AND OR OF
THE SURREALISTIC TRADITION ) DO NOT THINK EITHER OF THESE
DElNITIONS DESCRIBES WHAT ) DO ) PAINT BIG ) THINK THIS
MIGHT BE BECAUSE THE SOCIAL ISSUES WITH WHICH ) AM
CONCERNED REQUIRE @BIG "UT ) AM NOT SURE )T IS JUST
WHAT ) DO /NE SUCH @BIG PAINTING IS (ELICØPTERO 4HIS
WORK IS FROM A SERIES TITLED )& 9/5 $/. 4 7!.4 4/ "%
4(% (/23%3 (//&02).43 9/5 6% '/4 4/ "% 4(%
(//6%3 )T IS DEDICATED TO %VELIO WHO WAS A GRADE
ONE STUDENT IN A POPULAR SCHOOL IN #HALATENANGO %L
3ALVADOR WHEN ) MET HIM (IS HOME HAD JUST BEEN
DESTROYED DURING A MILITARY BOMBING RAID ON HIS
VILLAGE IN 7E HAD TAKEN IN SCHOOL SUPPLIES TO THE
PEOPLE IN THE AREA AND %VELIO AND HIS CLASSMATES DREW
PICTURES FOR US (E CALLED HIS PICTURE
HELICOPTERO
ESTE TECHO ESTA
CASA ESTA DESTRU
IDO POR EL
HELICOPTERO
)T WAS A DRAWING OF HIS HOME BEING BOMBED

4HE PAINTING PRESENTED HERE IS MASSIVE IN SCALE
X CM 4HE MEDIA USED IS OIL PAINTED ON
VERY lNE GRADE LINEN USING A HIGHLY POLISHED GLAZING
TECHNIQUE )N THIS WORK AS IN ALL THE PAINTINGS FROM
THIS SERIES AND FROM ANOTHER SERIES 5.! !53#%.#)!
$% &,/2%3 OF WHICH #ØLERA $IAGONAL $IAGONAL 2AGE
IS AN EXAMPLE ) HAVE MOVED AWAY FROM THE PURELY
NON OBJECTIVE APPROACH EVIDENCED IN MY EARLIER WORK
TO A REPRESENTATION OF SOME ASPECTS OF THE HUMAN
FORM 4HERE IS A DISCERNMENT OF lGURATIVE IMAGERY
BUT THE FORMS BECOME AMORPHOUS AND THE COLOURS
AND SHAPES MOVE BACK AND FORTH ON DIFFERENT PLANES
THAT BECOME IN MY OPINION MORE BIOMORPHIC THAN
lGURATIVE 4HERE IS IN THESE WORKS A SENSE OF NARRATIVE
BUT TO ME THE WORK IS MORE PSYCHIC THAN ANECDOTAL
BECAUSE ) HAVE FOUND THAT VIEWERS CONSTRUCT
WHATEVER THEY WANT FROM MY WORK 0ERSONALLY ) LIKE
TO THINK THAT ) AM DEALING WITH UNIVERSALS THAT DEFY A
LITERAL INTERPRETATION BUT THERE IS NO DENYING THAT THE
UNDERLYING IMPETUS OF THE ART VISUALIZES AN ABHORRENCE
OF THE DAILY REALITY THAT PEOPLE WHO ARE THE TARGETS OF
TERRORISM MUST FACE

4ECHNICALLY AS AN ARTIST ) AM STILL CONCERNED WITH 3%2)%3 )& 9/5 $/. 4 7!.4 4/ "% 4(% (/23%3 (//& 02).43 9/5 6% '/4 4/ "% 4(% (//6%3
THE PHENOMENON OF COLOUR AND LIGHT AS SEEN IN MY
EARLIER PAINTINGS AND IN THE CHOLESTERIC LIQUID CRYSTALS #¼,%2! $)!'/.!, $)!'/.!, 2!'%
AND SPRAYABLE VINYL ART PRODUCTIONS (OWEVER A /), /. "%,')!. ,).%.
CRITICAL ASPECT IF NOT JUSTIlCATION OF MY ARTWORK IS 8 #- — 8 ž ).
NOW POLITICAL 7E LIVE IN A WHOLE WORLD OF ACTIVE AND $%$)#!4%$ 4/ ! '2!$% 345$%.4 ). %, 3!,6!$/2 %6%,)/
#APRI !VENUE . 7 #ALGARY !LBERTA #ANADA 4 , *
INTERACTIVE RELATIONSHIPS OUR COMMON ASSOCIATIVE
LIFE THAT CAN AND SHOULD BE EXPRESSED ARTISTICALLY AND IT
IS IMPOSSIBLE TO KNOW ABOUT THE HARASSMENT TORTURE
MURDER AND STARVATION OF PEOPLE THROUGH TERRORISM -ARLIE "524/. 2/#(% VISUAL ARTIST
BE THAT STATE TERRORISM GLOBALIZATION OR MARKET
ECONOMICS AND AS WELL TO KNOW THAT PEOPLE LIKE THE 4 & MARLIE TELUSPLANET NET
3ALVADORANS THAT ) KNOW ARE WORKING TO ESTABLISH THEIR
IDEALS OF SOCIAL JUSTICE AND SELF RELIANCE AND NOT HAVE IT
AFFECT ONES ART WORK
TO BE CONTINUED
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