Blue Hues presents a five-year exploration of South Central-based artist Uber Lopez
Enamorado. His artistic practice was initially informed by early childhood trips to the Getty Museum, where he was surrounded by the masterworks of Caravaggio, Goya, and Rembrandt. There, the artist understood the importance of portraiture painting and how it created power for both the sitter and the important stories of the people during that time. Since the unexpected loss of his brother in 2019, Uber has devoted himself to producing a series of works sourced from family archives that characterize his sibling's influence on his work. His connection to the archive of photographs and his canvas highlights the push and pull of fragmented memory and the present moment. Throughout this series, Lopez Enamorado seeks images containing dynamic compositions, obscure qualities, and facial expressions that provoke conversation and offer a window into the artist's upbringing. He draws influence from western iconography and colors, such as the spectrum of blue, which holds significance in many cultures for its strenuous development process and deeper connotations when brought into the artist's hand. For Uber, blue functions as an entendre, containing deeper connotations relating to territorial divides and the untold narratives of specific South Central upbringings. Adopted techniques from Rembrandt's early self-portraits, such as the blue overcast, can be found in many of Uber's figurative works, where they symbolize grief and survivor's guilt. His process incorporates various layers of acrylic washes, established placement of control, and loose gestural mark-making. This is followed by soft blends using an airbrush gun and spray cans, nodding back to the pillars and engagements outside traditional art spaces. As he finalizes the work in oil, Uber strategically preserves the raw qualities of his beginning stages to develop a push-and-pull effect, creating tension between reality and illusion. He carves out a new space that invites memories and the reminiscence of life within the canvas.
Diego Vázquez (b. 1993) Monterrey, N.L. Mexico. Self-taught painter based in Mexico City. His work focuses on painting, using airbrush as his main tool, and utilizing various surfaces as his canvas.
Diego’s inspiration comes from the streets of the city. He enjoys walking through the city that inspires his work, observing murals, religious iconography, advertising found on every corner filled with popular elements and cartoons, as well as all the people who inhabit these spaces.
The title of his show “Perdiendo La Fe,” which translates to “Losing Faith,” reflects the daily life of Mexican people, always hopeful despite adversity, seeking help and finding solace in something greater than ourselves. Providing comfort and motivation to continue during difficult times.
“Losing faith” refers to when we think everything is wrong and nothing has a solution, so we go to our temple, take our scapular and pray or walk to the altar at the corner in search of hope.
Diego Vázquez es un pintor autodidacta que trabaja en la Ciudad de México. Su trabajo está enfocado en la pintura, utilizando el aerógrafo como herramienta principal, usando como lienzo todo tipo de superficies
La inspiración de Diego proviene de las calles de la ciudad. Le gusta caminar por la ciudad que inspira su trabajo, observando los murales, la iconografía religiosa, la publicidad que se encuentra en todas las esquinas llena de elementos populares y dibujos animados, así como todas las personas que habitan estos espacios
El título de su programa “Perdiendo La Fe”, que se traduce como “Perdiendo la fe”, es un reflejo de la vida cotidiana de las personas mexicanas, siempre llenas de esperanza a pesar de las adversidades , buscando ayuda y encontrando la calma en algo superior a nosotros. Brindándonos el consuelo y la
Motivación para seguir adelante en los momentos difíciles.
Perdiendo la fe hace referencia a cuando pensamos que todo está mal y nada tiene solución, entonces acudimos a nuestro templo, tomamos nuestro escapulario y rezamos o caminamos al altar que se encuentra en la esquina en busca de esperanza.
Bottom of a Pile by Darren Romanelli and Friends. Featuring Zoot Suit, Ragdigz and C. R. Stecyk III.
