The idea that a sense of place is always the present does not hold for paintings. The painting is not a linear process, but one that is as layered as there are places that I have seen.
--Roberto Juarez
Many places, many times intermingle in the work of Roberto Juarez. His life is so much a part of his paintings, that each new body of work introduces subjects, styles and motifs that seem to differ radically from previous work. Consequently, his succession of solo gallery exhibitions, which have typically occurred in two-year intervals since 1980, operate like time-lapse photographs. Between exhibitions, however, Juarez lives a life filled with travel, new relationships, literature, music, film, and art, all of which provide stimuli for his paintings (1).
Juarez often combines many different types of images, using both casual, small sketches he makes almost daily, as well as found botanical and other prints as sources (2). The dynamic between intended shapes and those that happen in the rush of emotional brushwork convey a physical sense of the artist's pictorial dance. These non-hierarchical images allude to the way artist's through the centuries have fixed the fleeting aspects of nature by using natural shapes and colors of flowers into permanent motifs, into symbols (3).
Viewers confront his personal experiences and perceptions, mixed with history and myth, transformed into a space that conflates western perspective with eastern illusionism. Juarez is an artist not afraid to travel among artistic disciplines, to draw from myriad sources for his work (4). Recently, Juarez has used printed materials from popular culture, such as Art Forum advertisements, which he rips up and then collages into studies for much larger paintings.
1. Bonnie Clearwater, " A Sense of Place"
2. Nathan Kernan, "Roberto Juarez: Paint, Paper, Peatmoss"
3. Cesar Trasobares, "They Entered the Road"
4. Lisa Isabel Liebmann, " They Endered the Road"
MADE-UP MYTHOLOGIES
TSL 50TH ANNIVERSARY EXHIBITION
ROBERTO JUAREZ
ARTIST STATEMENT
The opportunity to exhibit in celebration of the 50th anniversary of TSL in Hudson, New York, was a thrilling moment for me. The warehouse space, once a bakery, captivated my imagination, and I immediately knew I wanted to create a sanctuary for creativity and cultural expression.
My childhood memories of seeking solace and inspiration in the natural world and ancient cultures have profoundly influenced my art. Growing up with limited resources, I found escape and creativity by imagining myself in exotic places like ancient Egypt. Those imaginings fueled my early drawings and continue to inspire me today.
For this exhibition, I sought to embody the essence of a sanctuary through my art. I envisioned large-scale paintings, including an 8-foot canvas of the Egyptian goddess Bastet, symbolizing protection and empowerment. Alongside, I paid tribute to a dear friend with a painting of a bird sculpture he had created, evoking a sense of friendship and connection.
The compositions of my paintings evolved from exploring the branches of pine trees that had fallen during a snowstorm. As I photographed and drew these branches, their movement and line quality gave rise to abstract geometric baroque spaces that became the foundation of my work. This shift from horizontal to vertical movement became a breakthrough for my artistic expression.
Throughout the exhibition, movement remains a key element, evoking a sense of floating heaven-like spaces. The stage paintings merge mythology and humor, with abstract and surreal elements inviting viewers to imagine theatrical performances unfolding against the backdrop of the artworks.
The sanctuary I envision through my art is a place where unexpected things happen, where ancient stories intertwine with contemporary experiences, and where the audience can participate, almost dance, with the paintings.
In the end, my intention is to create an immersive experience for viewers, inviting them to connect with the rich cultural tapestry of human history and the boundless possibilities of creativity.