Armando de la Garza

"95" From La transvaloración de todos los valores

2019

Lord and Lady Eliot, by Manuel Santelices Acrylic on gesso panel Image size: 12 in. H x 9 in. W Unframed 2023 The worlds of fashion, society, and pop culture are explored through t...

Among my swan, 2018 by Ramonn Vieitez Oil, enamel, acrylic, latex on canvas Size: 39.4 H x 27.6 W in. Signed on the back by the artist Unframed ___ Ramonn Vieitez is a self-taught B...

Sunday in Recife, 2020-2021 by Ramonn Vieitez Oil, acrylic, 24k gold leaf and pink Dutch leaf on canvas Size: 39.3 H x 26.7 W in. Unique Signed on the back by the artist ___ Ramonn...

Masked nº 1, 2015 by Ramonn Vieitez Oil on cotton canvas Size: 23.6 H x 19.7 W in. Signed on the back by the artist Unframed ___ Ramonn Vieitez is a self-taught Brazilian artist who...

Everything changed in absolute silence, 2023 by Ramonn Vieitez Oil on canvas Size: 23.6 in DM Signed on the back by the artist Mounted on a stretcher ___ Ramonn Vieitez is a self-tau...

Midnight, by Sergio Bazan Oil on canvas Image Size: 63 H x 63 W inches Unframed Signed by artist _______ The paintings of Sergio Bazán have a strong gesture and expressionist impr...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her sub...

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...

The medium of choice for Do Byung-Kyu, born in Cheonan, Korea, is dolls: they are both his conceptions and his physical expression. At the same time dolls are also the perfect tool for communicating the artist’s inner self. Expressing himself by means of dolls liberates Do from the restrictions of the mundane world. By embodying in the form of dolls his actions and thoughts, dreams and desires, and even the instincts lying in the depths of the subconscious, he transcends the secular boundaries. Dolls are his alter ego, his other self that he can construct precisely the way he wants. Sublimating the experiences and memories from his youth into various subjects of desire, Do uses dolls to paint a descriptive picture of the ambiguous feelings of contradictions from his childhood when he would abuse and kill a plaything, for example a frog, then bury the body in solemn mourning over its death. These sexual or violent games from his childhood are not likely to be limited to Do’s experiences alone. Most of us can vaguely remember indulging in sadistic acts of sexual love against a doll. Rising above a child’s simple curiosity, it is an intuitive game of the senses we play by ourselves. In a number of Do’s paintings, sticky liquid can be observed dripping down a doll’s face. This brings back recollections of the life inside our mothers’ womb where we were also enveloped by mucous waters, like the amniotic fluid. It refuses contact with the anything, and nothing wants to touch it either. The shape of such a mucous liquid is a protective layer sheltering the intrinsic identity and desires of man. It is also a substitution that satisfies the ego’s instincts otherwise suppressed by social norms. The dolls’ eyes...