Los Angeles Underground Metro

Eriberto Oriol gets cover Spring issue
THESE STREETS Magazine

For photographer Eriberto Oriol, being down in the bowels of the city was an incredible experience. Damp and dim except where the rays of light were able to pass through a passage above here and there, might be like to enter Dante’s 9 circles of hell.
.
He almost got decapitated when the cable pulling the drilling caterpillar machine snapped and whizzed by a couple of inches away from his head.

He is amazed at the ingenuity it took to build the whole underground Metro system and pleased that “These Streets” magazine selected his Los Angeles Underground Metro series for the cover and some of the photos to be featured in the Spring 2020 issue.
.
Eriberto feels great to be in the company of talented artists featured in the magazine including his son Estevan Oriol.

Promo and photo by Angelica Oriol

 

SPRING ISSUE COVER FOR THESE STREETS MAGAZINE

Get your copy at These Streets Magazine

ForbiddenArtLA.com – Los Angeles Underground Metro Series link

 

The “Lunatics have taken over the asylum”

“The Thinker” by Eriberto Oriol

Have you ever wonder if the “Lunatics have taken over the asylum” and we are now left just dancing with Madmen?

A predator’s mind is full of fear and insecurity. They can find no peace in a state of flux so they thrive on feeding its victims more of the unknown to control and to take away the right to speak.

The uncertainty goes up with every breaking news story and unanswered question. It all adds to the stress and anxiety of our collective mind. Yes, the “Lunatics have taken over the asylum” and we are now left dancing with Madmen.

This photo is called“The Thinker.” It was taken of one of the public restrooms right in the heart of downtown San Diego, Horton Plaza and known as “America’s Finest City.”

The title of the photo was taken from the most important sculptor of the modern era François Auguste René Rodin sculpture, “The Thinker.”

Text and Posting by Angelica Oriol

Lyrics of the song below.

Fun Boy Three music group popularize the song The Lunatics Have Taken Over The Asylum from 1981 to 1983 and the attribution to Rowland is reported to have occurred at least as early as 1926, in the work A Million and One Nights by Terry Ramsaye.

YouTube Video of The Lunatics Song

Free Dictionary link: https://idioms.thefreedictionary.com/lunatic

“The Lunatics have taken over the asylum” Lyrics

I see a clinic full of cynics
Who wants to twist the peoples’ wrist
They’re watching every move we make
We’re all included on the list

The lunatics have taken over the asylum
The lunatics have taken over the asylum

No nuclear the cowboy told us
And who am I to disagree
‘Cause when the madman flips the switch
The nuclear will go for me

The lunatics have taken over the asylum
The lunatics have taken over the asylum

I’ve seen the faces of starvation
But I just can not see the point
‘Cause there’s so much food here today
That no one wants to take away

The lunatics have taken over the asylum
The lunatics have taken over the asylum
The lunatics have taken over the asylum, take away my right to choose

The lunatics have taken over the asylum, take away my point of view
The lunatics have taken over the asylum

The lunatics have taken over the asylum, take away my dignity
Take these things away from me

The lunatics have taken over the asylum
The lunatics have taken over the asylum, take away my family

Take away the right to speak
The lunatics have taken over the asylum take away my point of view

Take away my right to choose

Source: LyricFind

Songwriters: Lynval Golding / Terry Hall / Neville Staples

The Lunatics lyrics © BMG Rights Management

 

 

“L A Originals” on Netflix this Friday

Angelica and I are very proud of both Estevan and Cartoon, as they have been unwavering in pursuit of their goals against many odds.

This Friday 10th on Netflix Worldwide Premier of “LA Originals.” Thank you for your support.

Photo by Eriberto Oriol
ForbiddenArtLA.com

After you watch the “L A Originals” you can come back and leave your comments.

Crazy Sauce / Salsa Loca series of new works by artist Eriberto Oriol

Text by Angelica Oriol

“What is Going on?” is part of the Crazy Sauce / Salsa Loca is a series of new works by artist Eriberto Oriol. He sees being an artist as a privilege to be able to express the magic of his imagination through his work.

The beauty of this series is the spontaneity and freedom he expresses in his stokes and color pallet. The characters seem to reflect the bewilderment of the incoherent madness of events that are part of our contemporary life in a world of politics, economics and environmental crisis.

Crazy Sauce / Salsa Loca is a series of new works by artist Eriberto Oriol.

The dream is to be able, to tell the TRUTH, and allow the use of our creativity and imagination to take us beyond and forge a new pathway for the world that is about human kindness, caring, sharing and creating a world that never was before.

 

ForbiddenArtLA.com

 

 

The Zebra Man in Dancing with a Madman painting series by Eriberto Oriol

The Zebra Man Drawing by Eriberto Oriol
Text by Angelica Oriol

 

The GENIUS OF AN ARTIST is when they allow themselves to get into their creative zone and tap into the world of the creative unconsciousness. It is an omniscient world.   A world that holds: world history, philosophy, mythology, and the mysteries of the unknown.

The Zebra Man is one of Eriberto’s art pieces in the series, “Dancing with a Madman.”   When you look at the Zebra man, he seems to be incarcerated physically. However, he is spiritually jailed as well. It is the zebras’ illusion of the blending of instinct and intuition that makes him a powerful animal that has survived against many odds. The zebra may be a powerful metaphor reminding us of the importance of encouraging and supporting each other. You see, the zebra can only sleep when another member of the herd next to it is awake and on guard. They must work together to protect and guide the herd to the safety and resources they require.

For artists like Eriberto, he does not set out to paint these images, nor try to find meaning in the symbolism of the images or choice of colors, yet they seem to hold powerful meanings. He feels it is a privilege to have the unique distinction of being an artist that allows him to see a world that is not always obvious. He knows that art is not what you see but what it makes you think and hopes that “Dancing with a Madman” series help others to detect their own gleam of light.

GO TO: ForbiddenArtLA.com to view full “Dancing with a Madman” body of artwork.

 

 

 

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

.

America’s Most Wanted by Eriberto Oriol

Drago’s Publishing Rome Italty

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

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

 

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.

“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

 

 

 

 

 

“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.

.

.

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.

.

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.

.

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.

.

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.

.

Text by Angelica Oriol