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Las imágenes de Héctor Silva

Sábado, enero 30, 2010
Por

Dibujo y pintura

This entry is part 3 of 19 in the series Número 4, febrero de 2010

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Héctor Silva es un artista autodidacta que reside en Los Ángeles y comenzó a crear hace más de veinticinco años. Nacido en Ocotlán, Jalisco, México, llegó a Estados Unidos a los 17 años de edad. Empezó a dibujar cuando tenía más de 20 años y descubrió su propio talento. La obra de Silva se encuentra en colecciones en varias partes del mundo y ha sido alabado tanto en Estados Unidos como fuera del país.

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Como residente de Los Ángeles, una ciudad con una rica cultura latina / chicana, Silva absorbe y proyecta su tradición latina. Entre sus influencias está la iconografía religiosa, Frida Kahlo, M.C. Escher, Tom of Finland y el arte carcelario chicano. Silva explora los temas de la identidad cultural, la erótica y la belleza. Captura con maestría luces y sombras en la piel con lápiz sobre papel.

Sus más recientes exhibiciones grupales y personales incluyen una retrospectiva en el One Institute de la Universidad del Sur de California y exhibiciones en Highways Performance Space en Santa Mónica, el Museo de Arte Latinoamericano en Long Beach, el Museo de Arte Mexicoamericano en Chicago, el Centro Nacional Autry del Oeste Americano, el Museo del Suroeste del Indio Americano y el Museo Hispano de Nevada.

Para establecer contacto con Silva, puede visitar ArtByHector o su sitio en MySpace o Facebook, o escribir a su correo electrónico.

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Declaración del artista

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Si nadie está tratando de censurarte, seguramente no estás haciendo nada importante.

Yo exploro temas de identidad cultural, porque a los latinos a menudo nos borran del retrato social. Pero también creo que la estrategia de presentar una imagen positiva puede ser una trampa. Como artista siento la responsabilidad de mostrar arte que es no solamente bello, sino también auténtico.

Quiero que mi obra sea accesible, siempre proporcionar al espectador un camino para entrar en la imagen. Siento que el arte de “alta alcurnia” a menudo excluye a la gente, y me opongo a eso decididamente. El arte debe invitar a la gente, incluirla en la conversación, sea estética, política, filosófica, erótica, lo que sea.

Haciendo arte arte, la audiencia a la que pretendo llegar no es solamente la persona que visita los museos y las galerías. El arte reside y pertenece a las calles. Colocar el arte en las calles ha sido por mucho tiempo parte de la cultura latina. Lo vemos incesantamente, desde los murales hasta los graffiti. Yo me considero parte de esa tradición. El arte pertenece a la calle y en la calle el arte está en todas partes.

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Video de la exhibición de Héctor Silva en “One”

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Biography

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Hector Silva is a self-taught artist based in Los Angeles who has been producing work for more than twenty-five years. Born in Ocotlan, Jalisco, in Mexico, he moved to the United States at the age of 17. He began drawing in his late 20s when he discovered his own talent.  Today, Hector’s work is collected internationally, and has received acclaim in the US and abroad.

Living in Los Angeles with its rich Latino/Chicano culture, Hector  draws from the Latino tradition.  Among his influences are religious iconography, Frida Kahlo, M. C. Escher, Tom of Finland, and Chicano prison art.  Hector explores themes of cultural identities, eroticism and beauty. His mastery of light and shadow on skin is captured on paper with pencil.

Recent group and solo exhibitions include a retrospective at the One Institute/USC, and shows at Highways Performance Space, the Museum of Latin American Art in Long Beach,  the Museum of Mexican American Art in Chicago, the Autry National Center of the American West, the Southwest Museum of the American Indian, and the Museo Hispano de Nevada.

Hector is available for portraiture, originals, prints and other commissioned work.  To contact the artist, please visit www.artbyhector.com,  myspace.com/artbyhector facebook.com/hector silva, hector@artbyhector.com.

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Artist Statement

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If no one’s trying to censor you, then you’re probably not doing anything that important.”

I explore themes of cultural identity, because as Latinos, we are often erased from the social portrait.  But I also think that the “positive image” strategy can be a trap, and as an artist, I feel responsible for showing art that is not only beautiful but truthful.

I want my work to be accessible, always giving the viewer a way into the image.  I feel that “high art” often excludes people, and I am strongly against that. I think art should invite people in, and engage them in a conversation, esthetic, political, philosophical, erotic, whatever.

When I make art, my intended audience is not only the person that attends museums and galleries. I feel very strongly that art belongs in the streets. Putting art in the streets has been part of Latino culture for a long time, and we see it all the time, from murals to graffiti.  I consider myself part of that tradition. I think art belongs in the street, and on the street is a lot of art.

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El vendedor de micas

El vendedor de micas

“El vendedor de micas” or  ”vendor of green cards” is a portrait of one of many characters, mostly young men” who line the streets near MacArthur Park in Los Angeles. This area is widely  know to have available false identifications, such as green cards, driver’s licenses, and work permits. The “vendedor” usually gestures  toward prospective buyers, with a signal of his hand, indicating a small card-shaped object.  While this activity is clearly against the law, it is part of the reality of undocumented immigrants who often need to acquire some false paperwork so they can pursue work.

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Primera Comunion

This drawing of himself as a boy on the day of first communion feels stiff and constipated, like an old photograph, until you notice the snake under a table on the floor,the serpent represents the corruption of the church; especially its complicity in child molestation cases at the hand of priest. Like the filmmaker Pedro Almódovar , who also toys with expected ideas of what is sacred and profane, Silva can never divorce himself from the influence of a catholic upbringing.

Frank Rodríguez
Artillery Magazine , May 2008

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En tiempos de Guerra… la vida continúa

Before the 2nd Iraq war began, I was already thinking about war in some ways. One thing was the resistance movement in Chiapas with the  Zapatistas. And the courage to fight your own government when it is brutal. In this drawing, I wanted to make war, and revolution an “everyday” thing, very ordinary, because for many people, they are living in a war.

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Six Dollar Bag of Terror

I wanted to address the grossly confused portrayal of immigrants as terrorists who endanger the safety of citizens.  In fact, immigrants come with extremely good work ethic, and as has often been said, will perform jobs that few others are willing to do.  Indeed, immigrants are resourceful, industrious, and honest workers, who contribute much to the local and national economy. In this drawing, I have ironically included a barely visible grenade among the fruits this vendor sells, as well as explosives tied around his waist, like a suicide bomber.

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GI José

I made this drawing especially for the current war in Iraq. I thought about all the young Latinos, and Latinas too, that are joining the military, because it’s usually the best opportunity offered in this country. I mean the schools in our neighborhoods are not that good, and many, like myself,  don’t get a chance to  go to college. In my neighborhood in Pomona, there was an Army recruiting office right next to the Latino supermarket. I felt like the system was preying on the vulnerable, to send off to kill and die.

Also, I wanted to use the calavera, because it is a strong traditional image for Mexicans. But I wanted to make it complicated. Not just the joyful image of death for “el dia de los muertos.” But here, it is a different death. The death of these young people who go so far to fight for this country, a country that doesn’t  even treat us right. And also the death this US military brings to the people in Afghanistan and Iraq. So in this drawing, I wanted to put death and war and Latinos in the same image, all together, in a very simple, yet complicated way.

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Looking for the future

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In this drawing, I portray a young Latino man, often dismissed as a criminal-type gangster or “cholo”, as a student waiting for the bus to go to school.   Near him are campaign signs for  would-be Mayor of Los Angeles, Antonio Villaraigosa, who exemplifies a bright future of accomplishment and achievement for Latinos in the US.

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Series NavigationDiez poemas de Gabriel LernerUn viaje entre hadas y tehuanas: el arte de Miguel Toledo Guzmán

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