temporal ... or who knows
Finally it's time to pack some blogs, I'm getting plenty of visits (although no comment) in "Half Round" and I have decided to divert all my writing there, making this merger may save time something than ever on ... so that if any After passing through here and are interested in the subject (creative process and visual arts in general) though mixed with politicians and artists birthday, dreams and other topics, can be redirected to http://lamediarueda.blogspot.com
Wednesday, September 29, 2010
Monday, September 6, 2010
Is There A Law For A Broken Thermostat
Today
Today I
working initially with some reluctance "profile" June ... I started by discipline, was tired to be honest I do not know why, yesterday was not so busy at work and got up after half past eight when they had gone to bed around half past eleven p.m.. Today I
overtook some of this "intermediate" between the two greatest pictorial work undertaken to date ... (In terms of complexity as it rises) if you I called my "thesis" the 1997 work "The Cow that went to heaven" for its complexity and large this time I think I do a postgraduate degree in "Machinery" and another want to do with "Life."
had posted "Machinery" on the wall where it stayed for months unfinished "life" so I had to look at, to the right of where I paint, I knew I was missing some touches but as he once said Pedro Amador a single stroke is a storm and unleashes unexpected things, so it was when I decided to just give some light to the "door" behind the central character of "machinery" and lowered from the wall to stand, from then on I feel are other lights and give more contrast and define some elements ... the way I discovered things in this mechanism: the eye of my mother who amameció bloody few days ago, nothing serious according to the doctor but we are frightened enough, I also discovered the latter one vestige of my maze, a wall in the lower left corner, the display against the character of CompOut struck me every day before me and the gear with me tapes resembled the interior of the copiers from where I work and sheets of paper that is printed there daily, all these discoveries were made possible because I put in every corner of the canvas something strange in a painter "spontaneous" leaving much to chance, but this is more of a cartoonist drawing and includes informal the entire surface but I do not think you are painting with more calm in the sense of unease still feel an unsettling to work ... most disturbing not knowing when to stop and not "burn" the box ... nobody says, no one knows where it should go as you paint ... is so ...
Friday, September 3, 2010
Does Exercising Change Period
Development of a stroke.
write these lines at the conclusion of the piece "machinery" of 44x34 inches made in Miami in mid-2010 although the "conclusion" of my paintings are not final for a while, in fact the finished piece before Zu is on display in Gallery for one day during the launch of my lbro "Tales of my error and tedium" was altered with a few strokes who opened the right eye of one of their characters and this changed the overall look quite the part ... is significant as a look can change everything .. With these two pieces
mature one stroke with a history of two small mazes made and exhibited in 2008 (in Miami and in The Literary Clube do Porto, Portugal, respectively) that touch was gaining prominence in the following work and today I decided to write something about it.
The maze was an issue or item discussed since 2003, the painting helped me if any learning of the technique for even paint since 1995 and am a graduate of sculptures and drawings from 1981 to the canvas I feel a bit self-taught, armed only with a course of doubtful advantage in the first year of studies and discussions with U.S. colleagues and I began to stain fabrics catalyzed by a broken leg which made it impossible for a while I go to The Ceramic League of Miami where he had rented space to model clay had accidentally bought art supplies for the previous day and "color me itch." Inspired initially
friendship with visual artist Lisa, whom I met when he showed his "Garden of Eden" (a maze-cutting system conceptual) in Alpha International Gallery where I was working a few months, my mazes gave thematic coherence my pictorial work but, passed, technically speaking, by different "stages" were initially closed-ended were seen from outside, then I got closer to the interior from above as the character "only way to find" (2003), the there more surreal and more decorative, religious theme, and finally came the two "notes" where he puts his touch, "vanghoniana" as I called initially, these two works were not properly mazes and played the theme "universal" is "Universe "and" Beginning and End "the second exposed as" Life "in Gallery Magenta, Guadaljara of Buga, Colombia as part of the exhibition "Traces and Silences, shared with my wife, these works represent the graphemes of the word OM an Alpha and Omega and the other by way of walls, it gives appearance of walls, the maze fragmetaba rather, a third work style is "The Way" so named to start the trilogy "The Road", "Truth" and "Life" for this exhibition ("The Truth" is an independent work done among the stage of labyrinth)
When I returned to Miami from Colombia after the exhibition "Traces and Silences" I worked in Our Lady of Manhattan "," Tortuous ways " and "In Gold We Trust" sent to Qbava Gallery in New Jersey, these are evidence of my insistence on vanghoniana stroke, but not as free and colorful as the Dutch genius a bit but structures the elements of these mazes way bricks, this had happened in a more elementary since 2003 as well but this time the stroke was longer and overflows to the bottom and also bypasses elements, beyond this point that I'm pretty monochromatic, that I've hardly changed in pieces like " office hours' and a bit on "Blue room" and "A window", the latter two more decorative than desired for me, "Our Lady ..." and "Tourtuous ..." are bastrante gray, then get the yellow (one of my recurring colors) in "In gold ..." and continues "Nothing you'd better" and these were the last maze, there is a transit "Decadence: out of Labyrinth "(a very appropriate title) and" Start the day "in which I maintain the broad brush with white applied over previously put dark colors on the canvas which allows me to be getting back to the front light and brushstrokes are formed ribbons, textures enriquecendo the background.
beginning in 2009 as pictures on canvas feel a great desire, reaching more unity in the work Overall, this is giving only, also I'm feeling more comfortable with the aforementioned brush, pieces of 2009 are "Escapist" (an old issue once I outlined in my "red stage" when I painted "Watermelon smile" and Window 1 and 2), "Tum, tum, who goes there?" derived from previously made drawings and "Door", these pieces I consider a good starting point, it was like go all the page. Two Thousand
ten began with many hesitations, this summer to paint indicted me, I left a little gray parts of 2009 but continued to exploit and use the flat brush increasingly pastel lines to complement or add items transparent appearance, the penultimate picture, exhibited in Gallery Zu came out orange, his characters are cartoons, talk a little bit of isolation, is not a new topic on my: indifference, the unheard, the attempt to say ... and "machinery" I address the issue of life as interconnected machine, daily life and the outside, we see in the media, I return to an issue of sculptures made in 1999 and 2000 in Wheaton (I lived in those years in that area of \u200b\u200bthe capital), in the painting help me to play those tapes that concept woven basket-like brushstrokes on the canvas, so I want to "Profile of June, with his personage sitting alone but could not avoid the connection with everything and so be in that other fabric that I expect from 48x48 inches hanging unfinished for nearly a year which also are the Alpha and the Omega as two constructions apart on two hills, buttocks while a quatrefoil-shooting star across the sky-all mechanism connector.
to see the works mentioned here can go to http://wongspainting.blogspot.com and http://laberintoswong.blogspot.com 
write these lines at the conclusion of the piece "machinery" of 44x34 inches made in Miami in mid-2010 although the "conclusion" of my paintings are not final for a while, in fact the finished piece before Zu is on display in Gallery for one day during the launch of my lbro "Tales of my error and tedium" was altered with a few strokes who opened the right eye of one of their characters and this changed the overall look quite the part ... is significant as a look can change everything .. With these two pieces
mature one stroke with a history of two small mazes made and exhibited in 2008 (in Miami and in The Literary Clube do Porto, Portugal, respectively) that touch was gaining prominence in the following work and today I decided to write something about it.
The maze was an issue or item discussed since 2003, the painting helped me if any learning of the technique for even paint since 1995 and am a graduate of sculptures and drawings from 1981 to the canvas I feel a bit self-taught, armed only with a course of doubtful advantage in the first year of studies and discussions with U.S. colleagues and I began to stain fabrics catalyzed by a broken leg which made it impossible for a while I go to The Ceramic League of Miami where he had rented space to model clay had accidentally bought art supplies for the previous day and "color me itch." Inspired initially
friendship with visual artist Lisa, whom I met when he showed his "Garden of Eden" (a maze-cutting system conceptual) in Alpha International Gallery where I was working a few months, my mazes gave thematic coherence my pictorial work but, passed, technically speaking, by different "stages" were initially closed-ended were seen from outside, then I got closer to the interior from above as the character "only way to find" (2003), the there more surreal and more decorative, religious theme, and finally came the two "notes" where he puts his touch, "vanghoniana" as I called initially, these two works were not properly mazes and played the theme "universal" is "Universe "and" Beginning and End "the second exposed as" Life "in Gallery Magenta, Guadaljara of Buga, Colombia as part of the exhibition "Traces and Silences, shared with my wife, these works represent the graphemes of the word OM an Alpha and Omega and the other by way of walls, it gives appearance of walls, the maze fragmetaba rather, a third work style is "The Way" so named to start the trilogy "The Road", "Truth" and "Life" for this exhibition ("The Truth" is an independent work done among the stage of labyrinth)
When I returned to Miami from Colombia after the exhibition "Traces and Silences" I worked in Our Lady of Manhattan "," Tortuous ways " and "In Gold We Trust" sent to Qbava Gallery in New Jersey, these are evidence of my insistence on vanghoniana stroke, but not as free and colorful as the Dutch genius a bit but structures the elements of these mazes way bricks, this had happened in a more elementary since 2003 as well but this time the stroke was longer and overflows to the bottom and also bypasses elements, beyond this point that I'm pretty monochromatic, that I've hardly changed in pieces like " office hours' and a bit on "Blue room" and "A window", the latter two more decorative than desired for me, "Our Lady ..." and "Tourtuous ..." are bastrante gray, then get the yellow (one of my recurring colors) in "In gold ..." and continues "Nothing you'd better" and these were the last maze, there is a transit "Decadence: out of Labyrinth "(a very appropriate title) and" Start the day "in which I maintain the broad brush with white applied over previously put dark colors on the canvas which allows me to be getting back to the front light and brushstrokes are formed ribbons, textures enriquecendo the background.
beginning in 2009 as pictures on canvas feel a great desire, reaching more unity in the work Overall, this is giving only, also I'm feeling more comfortable with the aforementioned brush, pieces of 2009 are "Escapist" (an old issue once I outlined in my "red stage" when I painted "Watermelon smile" and Window 1 and 2), "Tum, tum, who goes there?" derived from previously made drawings and "Door", these pieces I consider a good starting point, it was like go all the page. Two Thousand
ten began with many hesitations, this summer to paint indicted me, I left a little gray parts of 2009 but continued to exploit and use the flat brush increasingly pastel lines to complement or add items transparent appearance, the penultimate picture, exhibited in Gallery Zu came out orange, his characters are cartoons, talk a little bit of isolation, is not a new topic on my: indifference, the unheard, the attempt to say ... and "machinery" I address the issue of life as interconnected machine, daily life and the outside, we see in the media, I return to an issue of sculptures made in 1999 and 2000 in Wheaton (I lived in those years in that area of \u200b\u200bthe capital), in the painting help me to play those tapes that concept woven basket-like brushstrokes on the canvas, so I want to "Profile of June, with his personage sitting alone but could not avoid the connection with everything and so be in that other fabric that I expect from 48x48 inches hanging unfinished for nearly a year which also are the Alpha and the Omega as two constructions apart on two hills, buttocks while a quatrefoil-shooting star across the sky-all mechanism connector.
to see the works mentioned here can go to http://wongspainting.blogspot.com and http://laberintoswong.blogspot.com
Wednesday, September 1, 2010
Lab 5 Respiration Answers
I wake up late and ...
Yesterday I terminated "Machinery" (apparently final title of this paper) but that does not stop him a few strokes over time to time, in fact the former, exposed and in Zu Gallery for the launch of the book was slightly altered.
Today was supposed to lift me up with a good drive to get their hands on "Profile of June," but that is not guaranteed, I must, among other things, put some order in my surroundings ... is not something emotional but practical, you can not find anything in this room, everything is crowded. Personally
last Saturday my brother moved to an apartment in Coral Gables to a wider and four times closer Fontanbleau work in two areas of Miami, has been moving every years ago as four years between my mother and two friends helped him in about five hours to this process were not many things during the week and had moved the most sensitive. On the other hand I've been having gallbladder pain finally detected in an ultrasound the cause of such discomfort, a pebble, I did the ultrasound at a school for the specialty in which no patients are charged for their study material.
So things are going, perhaps after collecting today I decided to unpack the materials bought by these days to make color pencil, it's time. 
Yesterday I terminated "Machinery" (apparently final title of this paper) but that does not stop him a few strokes over time to time, in fact the former, exposed and in Zu Gallery for the launch of the book was slightly altered.
Today was supposed to lift me up with a good drive to get their hands on "Profile of June," but that is not guaranteed, I must, among other things, put some order in my surroundings ... is not something emotional but practical, you can not find anything in this room, everything is crowded. Personally
last Saturday my brother moved to an apartment in Coral Gables to a wider and four times closer Fontanbleau work in two areas of Miami, has been moving every years ago as four years between my mother and two friends helped him in about five hours to this process were not many things during the week and had moved the most sensitive. On the other hand I've been having gallbladder pain finally detected in an ultrasound the cause of such discomfort, a pebble, I did the ultrasound at a school for the specialty in which no patients are charged for their study material.
So things are going, perhaps after collecting today I decided to unpack the materials bought by these days to make color pencil, it's time.
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