“Small DIC tator” Text by Angelica Oriol

“The “Small DIC tator ”

This is one of the paintings in “Are We Dancing with A Madman?” series by artist Eriberto Oriol.

The “Small DIC tator ” painting reminds me of how throughout history we have seen insecurities, fears and the insatiable greed dictate violence and hate on people who possessed the wealth that the Empire wanted. Resources such as the land, its’ people, oil, minerals, diamonds, and water have often been a threat to the peace and sovereignty of that country.

Eriberto does not try to paint work that deals with social issues and does not care to find meaning in his work. However, it is through our conversations that my writings emerge. It makes me wonder if in a “redactive” world, would there be room for artists such as Alfredo Siqueiros with his mural “America Tropical,” Goya’s “Los Caprichos,” or for other artists that encourage a public dialogue of our collective consciousness?

As artists, we often see what others do not see.  For some, our journey is a quest for a moral life and social change. The dream is to be able to tell the TRUTH, use our creativity and imaginations to take us beyond the basic purpose of art; forge a new pathway for a world that would be about human kindness, caring, sharing and to create a world that never was.

Save these DATES: June 14 and June 28, 2019

 

 

 

 

 

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“They’re There for The Taking” painting by Eriberto Oriol

“They’re There for The Taking” is one of the social commentaries paintings in “Are We Dancing with A Madman?” series by artist Eriberto Oriol.

While women have much to contribute, for the most part, global societies have assigned restrictive roles that limit their potential. In this metaphorical painting, the artist is being brutally honest in questioning the predator/prey type relationship.

The furry body emphasizes how women are viewed as an animal and are subject to the hunt whether they like it or not.

The insect-like image symbolizes the pest that means to destroy or harm. Is this a hopelessness human behavior of a patriarchal world? Can we get over the repugnance correlation of women like animals in the food chain?

Artist Edgar Degas once said, “Art is not what you see, but what you make others see.” If this painting facilitates a discussion that acknowledges this behavior, maybe we can empower ourselves and make plans to stand differently in this world.

Save these DATES:

June 14 and June 28, 2019

“Cruzando LA Fontera/Crossing the Border” by artist Eriberto Oriol

“Cruzando LA Fontera/Crossing the Border” is one of the social commentaries paintings in “Are we dancing with a Madman?” series by artist Eriberto Oriol.

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For most people, crossing the border may be as simple as walking or driving across, however for an undocumented woman with little or no resources, it can be a treacherous journey.

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In this painting, the woman’s body has no arms or feet that maybe speak to the vulnerability and mutilation women around the world face in overcoming barriers not just in crossing borders. The textured body shows cuts and scratches that seem to emphasize the strenuous violent efforts she faces in this most difficult situation.

The image of a nopal/cactus with nails protruding on her crouch offers an interesting dichotomy. On one hand, the cactus represents strength, however in the same way as the cactus has thorns to protect the plant, maybe this type of armor could protect a woman from being raped. The roots from the cactus magnify how women are often uprooted by war, poverty, and violence.

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For Eriberto, the red-earth color face represents fertility and women’s bond with the earth. The woman’s beautiful stylized braids may also symbolize the rich cultures that these women usually represent. The stepladder is not only helping her to get over the barrier but it may also communicate a cry for help? The stark white background makes the issue very clear.

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Eriberto does not set out to paint these images or themes; he just gets in his creative zone and allows his characters to emerge. He realizes that by tapping into his creativity zone, it deepens the mystery and the magic in his art.

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Text by Angelica Oriol

Nocturnal paintings in the series “Dancing with a Madman” by artist Eriberto Oriol

Nocturnal is a beautifully textured background painting with the color blue being more dominant. The main character not only has four breasts but it also has two penises. What could this artist have been thinking? Eriberto does not try to find meaning in his work; he just gets in his creative zone and allows his characters to emerge.

In his paintings, he seems to be embracing the symbols of ancient civilizations and mythology that have influenced him and his art. Even though breasts and penises seemed to have been a taboo in our society, these symbols are sacred icons of mythology and of goddesses in other cultures, for instance, Japan has a Penis Festival and in Bhutan penises are worship. Click on links for information on the festival in Japan and Bhutan.

Some cultures have made the goddess of women who had more than two breasts. The Hatuibwari dragon of Melanesia had four pendulous breasts, which serve to feed and to nourish all the living. The goddess Meenakshi at the Temple Madurai had three breasts; she symbolized courage and power that challenged sexist notions of the world. The people of India believe she was bold, brave and considered herself equal to men.

 

In this painting, you will see that Eriberto is also using penises not as phallic symbols, but as symbols of power. He believes that the three Calaveras speak more about the violence and death of people caused by the abuse of power. It speaks of human truths, fears, and nightmares of seemly invisible erased souls begging not to be forgotten. He hopes that these powerful characters startle people out of their daily routine and question the sanity of greed and power and appreciate the art of artists in tune with the creative force of the universe.

Text and photo by Angelica Oriol

War Baby painting in “Dancing with a Madman Series” artist Eriberto Oriol

War Baby, is a painting that depicts the atrocities of the war in a similar way as Francisco Siqueiros painting “The Echo of a Scream;” both paintings talk about the pain and horror of war.  The dark nightmarish colors and hollow eyes of the naked child show the despair and fear of being all alone, vulnerable to abuse and an uncertain future without hope.  It is a common dehumanizing timeless theme of war that speaks of inevitable pain, suffering, and intense sorrow.

 

 

Children are wars greatest victims and this bold painting seems to have captured the horrific grief and misery of war.  For an artist like Eriberto, trying to make sense of war is like the madness of “Dancing with a Mad Man.”  Is it time to make radical changes in our thinking? The implications for humanity are catastrophically alarming.

 

This is a series of paintings with social commentaries that speak of the rage of power and the screams of victims and invisible erased souls begging not to be forgotten.

 

 

“Perros” is one of the social commentary paintings in the series “Dancing with a Madman” by artist Eriberto Oriol.

In this painting, “Perros” Eriberto is not talking about the furry animals some call best friends nor would he insult these creatures to have the character traits that these dogs symbolized in this painting.
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The human-like faces in this painting seem to be communicating haunting moments of human life with a sort of an apocalyptic flare that is defiant and yet provoking.

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In this painting, the spots just like in the cheetah distract their prey and camouflage them so they can blend or hide; the spots on the dogs in this image seem to represent the mask of camouflage of individuals who try to conceal their dominance and violence over their prey.
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All around the world, brutal violence is occurring because the empire wants the indigenous people’s resources and their land. Maybe this is the viciousness that the “Perros” painting is trying to communicate.

Are we dancing with a Madman? – Perros painting by artist Eriberto Oriol

“Perros” is one of the social commentary paintings in the series “Dancing with a Madman” by artist Eriberto Oriol.

In this painting, “Perros” Eriberto is not talking about the furry animals some call best friends nor would he insult these creatures to have the character traits that these dogs symbolized in this painting.

Puppies, chicks, and babies in general, are not born knowing how to hate or how to be violent. They are not just operating out of instinct, they are taught to be violent. However, these animals have been used as vicious weapons for mass destruction and brutal cruelty throughout history around the world. “The Dogs of the Conquest” by John Grier Varner and Jeannette Johnson Varner is just one of the stories of the horrific acts of cruelty and violence committed on those who had the resources the empire wanted.

The human-like faces in this painting seem to be communicating haunting moments of human life with a sort of an apocalyptic flare that is defiant and yet provoking.

In this painting, the spots just like in the cheetah distract their prey and camouflage them so they can blend or hide; the spots on the dogs in this image seem to represent the mask of camouflage of individuals who try to conceal their dominance and violence over their prey.

I think when artists discuss these dark moments it is because they see a giant alarm screaming what is blatantly oblivious. However, for some, this violence is invisible. All around the world, brutal violence is occurring because the empire wants the indigenous people’s resources and their land. Maybe this is the viciousness that the “Perros” painting is trying to communicate.

Humanity has been bestowed with the greatest gift of all time, imagination, for it has the power to change the world. For Eriberto, the dream is that the skies would get bluer, birds would start to sing again, and the glaciers would stop melting. In Spanish we say, “El Sueno del artista, es que el cielo se vuelva mas azul, los pajaros comienzen a cantar de nuevo, y los glaciares dejen de derretirese.

Text by Angelica Oriol