Lost in Hollywood 2016</br>acrylic, oil , crushed glass, print transfer in fiberglass mesh</br>84'' x 48''

Lost in Hollywood

The central figure, Vasilisa, is an image of a young girl borrowed from a Russian folktale, illustrated by the well-known artist Ivan Bilibin. During our immigrant years in Argentina my Russian-born mother painted exact replicas of Bilibin’s image of Vasilisa carrying a glowing skull as a torch given to her by a witch who lives in a hut supported by chicken legs.

As a tribute to Olga, my mother, I have replicated an enlarged version of Vasilisa on coarse yellow mesh used in the plastering process. This mesh resembles the thread technique of cross-stitching frequently used in folk costume. I have then colorized the image in translucent washes of acrylic, touches of opaque oil and dusted with thin layers of crush glass. Vestiges of street photography from the urban environment of Los Angeles surround Vasilisa, hence the name of the piece, Lost in Hollywood.

Cowboy shirt V (Sierra madre)   2011</br>acrylic on cloth, land deeds and sand</br>38 in x 42 in Cowboy shirt VII (Annie Prouix)   2011</br>acrylic, xerox transfer on linen, ink on vellum</br>40 in x 36 in Cowboy shirt I (North Star)   2011</br>acrylic, earth on interfacing and 19th. century land deeds</br>38 in x 42 in

Paper Cowboy

The climate, terrain and history of Western United States profoundly affected me during my recent residency with Ucross Foundation in April 2011. Generally my work depicts the human body, but for this project I explore the trappings of a figure that has attained mythological stature in America - the cowboy. Here, drawings and fabrications of Western shirts and well-worn chaps represent the hardworking, lonesome nomad.

Manzanar Kimono (Front) 2014</br>print transfer, acrylic, ashes on propylene fabric</br>11' x 8' Manzanar Kimono (Back) 2014</br>print transfer, acrylic, ashes on propylene fabric</br>11' x 8'

Manzanar Kimono

After visiting Manzanar National Park, formerly Manzanar War Relocation Camp, where many thousands of Japanese Americans were incarcerated during WWII, I felt compelled to make this monumental-scale kimono, dedicated to those who suffered relocation, loss and betrayal by the U.S. government.

The front, back and sleeves of this memorial garment are imprinted with enlargements that I photographed while visiting the internment camp.
The back of the kimono displays an image of the guard tower that still stands ominously on the grounds.  The front reveals pictures of rusting sleeping cots from the barracks interspersed with views of the Memorial monument.  Photographs of fragments of sculptural work by artist, Ruth Asawa, who was interned at Manzanar, appear on the sleeves.    

The fabric of the kimono is a thin polypropylene material commonly known as weed blocker.  The images were transferred to the garment through the use of photocopies coated with acrylic gel medium, then pressed against the fabric. Subsequently, the surface is highlighted with acrylic paint and charcoal then rubbed with earth and ashes to provide additional texture and depth.

The enormous scale of the kimono (11’ x 6’) symbolizes the phenomenal endurance, creativity and tenacity of more than 110,000 Japanese Americans who were interned during WWII.

Cantinflas y La Suerte 1994</br>screen print on cloth, chains ans rock salt</br>3.6m x 3m

Cantinflas in Ensenada

Thirteen years ago I exhibited a monumental quilt installation of Cantinflas’ image at Centro Cultural San Angel in Mexico City. The work was created to celebrate the unforgettable legacy of his symbolic presence as Mexico’s common man.

This year, 2017 marks the 25th anniversary of his passing. I am grateful to CEARTE for the opportunity to show this piece, Cantinflas at the museum in Ensenada. In conjunction, I am also showing the Swap Meet series, posters taken from Latino neighborhoods of Los Angeles which I have altered by layering images of people and places through reprographic means that evoke the richness of their community.