Posts Tagged ‘MMuseum of Modern Art (MoA)

26
Jun
19

Eriberto Oriol In Drago’s “The Street is Watching”


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America’s Most Wanted by Eriberto Oriol

Drago’s Publishing Rome Italty

https://www.instagram.com/p/BzLIUp1o5Ut/…

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07
Jun
19

Art Review by Julie Rico on artist Eriberto Oriol


 

 

 

Julie Rico is an amuse and has had her own galleries representing many artists including: Jean Jacques Bastarache, Salomon Huerta, Treiops, Ed Big Daddy Roth, Stanley Mouse, Bill Plympton, Lama Lhanang, Mark Bryan, Dennis Larkins, Craig Stecyk, Robert Williams, Patssi Valdez, Diane Gamboa, Timothy Leary, Michael McMillan, Kai Bob Cheng, Ray Zone, Von Dutch, Einar and Jamex de la Torre, Brian Tortora and about 100 or more artists.

 

 

 

 

Eriberto is a Los Angeles based painter he creates work with a Latin world ethos. A confluence of European and Indigenous Indian cultures.

The term “Cosmic Race”, is brought to mind in this work, coined by Jose Vasconcelos a Mexican philosopher. Vasconcelos believed that nationality and race is transcended by Latin Americans with their Asian-descended native Americans, European and African heritage. You can see in Oriol’s work the same kind of merging of cultures.

 

Dante's Inferno painting by Eriberto Oriol

Dante’s Inferno painting by Eriberto Oriol

 

Oriol provides us a reflection of the indigenous dream like state. The dreams that brought wisdom and guidance to the tribe were achieved with the ceremonial use of alkaloids such as Peyote or Ayahuasca. The skillful interpretation that Mr. Oriol achieves in his work reflects the forces of the universe as it affects our collective journey into the unconscious. At the same time the colors the painting techniques emphasize European influences.

The work is not easy. Like Picasso’s Guernica that shows the tragedy of war. The internal struggle is what is emphasized in Mr. Oriol’s work. We feel the power we have within ourselves with this work.

Many of the works are clearly phallic. Just prior to the sexual revolution in the 60’s and 70’s American art was overly affected by Christian values of the Puritans. The phallus was usually hidden not exposed as in Mr. Oriol’s paintings. The sexual revolution allowed the phallus to show up in sculptures and other contemporary art. Look at work by Louise Bourgeois and Andy Warhol. Surely, this affected Mr. Oriol a product of that time.

But let’s go back even further to pre-Columbian times where we see references to the phallus as an important cultural icon to the indigenous populations all over the world. The influences of pre-Columbian art cannot be denied in this work. The paintings are not always pleasant. They are; however, wondrous and terrifying and beautiful portraying dream likes states of mind.

As was the intention of the Indigenous their dreams were meant to help the community at large. It is the same with Mr. Oriol’s work. He may want us to see the hidden power of our animal nature. As witnesses to our hidden power in the paintings, will we be overcome the angst, the sometimes powerlessness we feel in our daily lives. The power of the phallus is in our DNA, we cannot separate ourselves from our animal nature. Contemplation is key to our understanding of our place here in the world. Mr. Oriol’s paintings help us see an inner world.

 

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06
Jun
19

Julie Rico Art Review on artist Eriberto Oriol


Eriberto is a Los Angeles based painter he creates work with a Latin world ethos. A confluence of European and Indigenous Indian cultures.

The term “Cosmic Race”, is brought to mind in this work, coined by Jose Vasconcelos a Mexican philosopher. Vasconcelos believed that nationality and race is transcended by Latin Americans with their Asian-descended native Americans, European and African heritage. You can see in Oriol’s work the same kind of merging of cultures.

 

Dante's Inferno painting by Eriberto Oriol

Dante’s Inferno painting by Eriberto Oriol

 

Oriol provides us a reflection of the indigenous dream like state. The dreams that brought wisdom and guidance to the tribe were achieved with the ceremonial use of alkaloids such as Peyote or Ayahuasca. The skillful interpretation that Mr. Oriol achieves in his work reflects the forces of the universe as it affects our collective journey into the unconscious. At the same time the colors the painting techniques emphasize European influences.

The work is not easy. Like Picasso’s Guernica that shows the tragedy of war. The internal struggle is what is emphasized in Mr. Oriol’s work. We feel the power we have within ourselves with this work.

Many of the works are clearly phallic. Just prior to the sexual revolution in the 60’s and 70’s American art was overly affected by Christian values of the Puritans. The phallus was usually hidden not exposed as in Mr. Oriol’s paintings. The sexual revolution allowed the phallus to show up in sculptures and other contemporary art. Look at work by Louise Bourgeois and Andy Warhol. Surely, this affected Mr. Oriol a product of that time.

But let’s go back even further to pre-Columbian times where we see references to the phallus as an important cultural icon to the indigenous populations all over the world. The influences of pre-Columbian art cannot be denied in this work. The paintings are not always pleasant. They are; however, wondrous and terrifying and beautiful portraying dream likes states of mind.

As was the intention of the Indigenous their dreams were meant to help the community at large. It is the same with Mr. Oriol’s work. He may want us to see the hidden power of our animal nature. As witnesses to our hidden power in the paintings, will we be overcome the angst, the sometimes powerlessness we feel in our daily lives. The power of the phallus is in our DNA, we cannot separate ourselves from our animal nature. Contemplation is key to our understanding of our place here in the world. Mr. Oriol’s paintings help us see an inner world.

This slideshow requires JavaScript.

 

 

 

 

Julie Rico is an artmuse and has had her own galleries representing many artists including:  Jean Jacques Bastarache, Salomon Huerta, Treiops, Ed Big Daddy Roth, Stanley Mouse, Bill Plympton, Lama Lhanang, Mark Bryan, Dennis Larkins, Craig Stecyk, Robert Williams, Patssi Valdez, Diane Gamboa, Timothy Leary, Michael McMillan, Kai Bob Cheng, Ray Zone, Von Dutch, Einar and Jamex de la Torre, Brian Tortora and about 100 or more artists.

 

 

 

 

 

 

23
Apr
19

“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.

“Small DIC tator” Text by Angelica Oriol

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

 

 

 

 

 

04
Apr
19

“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
21
Mar
19

“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
07
Mar
19

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.

 

 




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