Fredy Saul Serrano Buitrago

Xenestela 17. From The Series Xenestela

2019

Exuberantly colorful, symmetric colleges with ovoid shapes, called emissaries, originate from another cosmic dimension. We are troubled by the unsettling apprehension that they may b...

Exuberantly colorful, symmetric colleges with ovoid shapes, called emissaries, originate from another cosmic dimension. We are troubled by the unsettling apprehension that they may b...

Exuberantly colorful, symmetric colleges with ovoid shapes, called emissaries, originate from another cosmic dimension. We are troubled by the unsettling apprehension that they may b...

Exuberantly colorful, symmetric colleges with ovoid shapes, called emissaries, originate from another cosmic dimension. We are troubled by the unsettling apprehension that they may b...

M323 (Abstract new media) Digital creation, printed on Hahnemühle Photo Rag de 308 gr - Unframed. Fluctuating between illustration and expressionism, connecting the geometric and ...

M323 (Abstract new media) Digital creation, printed on Hahnemühle Photo Rag de 308 gr - Unframed. Fluctuating between illustration and expressionism, connecting the geometric and ...

7416 is an artwork made by the Italian artist  Renato Spagnoli  (Livorno, 1928-Livorno, 2019) in 1974. Mixed media Hand signed, titled and dated on the back

Genre: Latin American Subject: Abstract Medium: Mixed Media, Collage Country: Mexico Dimensions w/Frame: 16.75 x 16.5 Feliciano Béjar Ruíz (1920 – February 1, 2007) was a Mexican artist and artisan, best known for a style of sculpture called “magiscopios” which involved various materials along with crystals and/or lenses to play with light or create distorted visions. He was born in rural central Mexico and was completely self-taught as an artist. He was creative as a young child, drawing and creating his first sculpture like pieces from papier-mâché. His art career began in New York, where he had travelled and lived for a time in Hell’s Kitchen. His drawing the attention of Arthur Ewart and Frances Coleman, with the latter helping him have his first exhibition and whose husband helped sponsor his time in Europe. In his later life, Béjar withdrew from the art world for about sixteen years, disillusioned with it and retreating to his ranch in the State of Mexico. He returned in 1998, with a retrospective of his work in Mexico City and continued to show his work until shortly before his death. He worked as an assistant to a carpenter, sweeping out the shop in exchange for wood scraps. He used these to create toys and even large imaginary cities. When he was fifteen, he began to teach himself art using various scrap materials. At this time muralist José Clemente Orozco was in his town to paint scenes of the Mexican Revolution on the town library. Bejar brought him some drawings to show, he did not want to see them. Later in life he stated that he did not think well of the muralists and considered them false and frauds. He said that their work was supposedly for the people but they could not be understood without interpretation and the main ones (Rivera, Siqueiros and Orozco) shut out other artists. When he got to New York in the 1940s, he was disappointed and thought it ugly. He wanted to return but had no money so he had to work menial jobs and live in Hell’s Kitchen. During this time in New York, he was put in touch with English painter Arthur Ewart who encouraged him to get back to art, particularly painting. He also met socialite Frances Colman, while copying paintings...