As Above, So Below

Curiosity for our environment is what drives our knowledge.  This natural sequence stems from our perception and Vu Q. Nguyen’s artwork persuades us look beyond that surface. As a nature-inspired artist, he believes in the importance of organic interactions and how these impact our lives in a number of ways.

“My interest in the relationship between nature and humans stems from my family and how I grew up. Farming and agriculture played a big part, from places where we plant the food we eat to creating a sense of community. Like many artists, I look to nature to find inspiration but for me it is important to represent nature's influences on every day life. We leave our 'human' traces where we live but how that affects other parts of the world in not very apparent,” he says.

What you might immediately notice in Nguyen’s paintings aside from the beautiful blends of colors are the shapes and dimensions.  It all comes down to perception, whether we’re focusing on the bigger picture or just a specific part of it. Whichever way you see it, the context extends like an infinity pool of abstraction where the details take over the entire canvas. The gentle colors and gestural marks represent something that can’t be ignored, which are part of the overall abundance of emotion being evoked beyond the top layer. These marks are all unique in shape, brightness, opaqueness, and stand out to complement the environment, yet show us that one detail cannot exist without the others. Even if parts of the painting stand out, they all belong to the whole, which is the way nature and experiences work. There might be good, bad, surprising parts to everything we experience, but if one hadn’t occurred, then we wouldn’t have the same results after all.

Nguyen explains, “I had a deep interest in storytelling when I first began my career. I represented those stories with symbols and figures. Most of my early works contained symbols that were culturally specific and figures of family and friends whom I knew well. I wanted to tell their stories while incorporating an element of place. Over time my work became more abstract which for me was a natural progression because I became more involved with traveling and nature. I felt that I could tell my story better with more of an emotional expression rather than pure representation.”

The abstract shapes represent the complexities of everything we see in life, yet everything portrayed has many layers, like the physical earth does. These layers can portray anything you imagine, even though Nguyen’s work is built on his travel and organic experiences, what you see can also be applicable to the overall environment within life. Everything in our environment is layered because nothing is really black and white, there are more shades of gray than anything else, which again leads us to perception and how we may see the surface and what lies underneath. Think of each layer and pigment in the paintings as what is beneath each person, the earth, feelings, reactions to actions, among other examples.

“My works over the past five or more years have been linked to land in the sense of how it's divided over time. I incorporate this with things that I find interesting in that area. I make small sketches that represent patterns of what I see. I start the base of my paintings as maps some real, some I make up. Then I put layers of patterns that I've collected more of which will obscure all the drawing underneath. I use a wide variety of mediums. Currently I create a lot of my work using dry pigment. I tend to use drawing as painting so oil sticks, pens, markers, charcoal/graphite is my main go-to,” he says.

There is a sense of looking within and without when you’re observing these landscapes.  This causes you to look into what is there from the inside, meaning the layers and what completes the whole or it causes you to look at the bigger picture, as if you’re looking at things from the sky. It all depends on your personal viewpoint, which relates to how you look at things in life: Are you looking at the details up close and analyzing every single thing that is presented right in front of you, or are you pulling back and analyzing things from afar and getting a gist of what the overall message might be? That is the question.

Nugyen exhibited his work at the Foundry Gallery in Washington D.C. this past spring. For more about the artist’s work, please visit his website.

Today’s poem represents the detail of emotive color and movement found in Vu’s paintings:

Field of Moving Colors Layered

BY TINO VILLANUEVA

I’m not easily mesmerized.

But how can you not be drawn in by swirls,

angles and whorls brought together to obey

a field of moving colors layered, muted ...

others bright that make you linger

there?

Just look at those Carpaccio reds.

Right then my mind

leaps to Cezanne:

his dark-blue vest in Self-Portrait (1879–1880);

the Seven Bathers (ca. 1900) wallowing in blue;

his blue beyond in Château Noir (1904).

Consider now the three, or is it four figures

in Alberto Valdés’s Untitled (ca. 1965).

They are wayward energy, moving right

to left (the right one more sensuous than the rest)

about to dive

into the deep-blue waiting — call it the unknown.

I’d like to be there when they meet that blue abyss

head on.

Will they keep their shape, I wonder,

or break up and rearrange themselves

into a brighter, more memorable pose

... into a bigger elemental thing?

I’m really asking this:

When they run into the landscape of blue,

will these figures lose their logic of luster?

Will they lose their lucid argument of color,

their accumulated wealth of geometry?

Will they still engage the entire me,

hold me,

keep me mesmerized?

Once Upon a Time in Lima

Nostalgia is like looking in the mirror and having your childlike reflection staring back at you; that’s the feeling that overtakes you with Pablo Patrucco’s paintings. The Peruvian painter presents a softer view of Lima and its people, and because he comes from a long line of painters, he has an innate understanding of his environment’s artistic representation. “In my case, it wasn’t difficult to notice [I wanted to be a painter]. I come from a medium that was familiar to me, in relation to art and literature. My mom is a painter, so was her mom, and my sister is a painter too,” he says.

Over the past  15 years, the city of Lima has been undergoing major changes socially, politically, and structurally, and all of these embody a constant shift that affects its residents and others’ perceptions of what life in Lima really is. The investment of foreign companies in the region, the massive migration of people from the provinces to the city, and the lack of public housing and transportation budget/implementation have all contributed to an inevitable collective transformation.

These changes are steps in a positive direction in developing nations like Peru. There is modernity within the city, but the newness is simply external and superficial. When it comes to the people who live there, these shifts can surely affect their daily lives and many times they have no choice but to go along with them to survive. With so much social and historical richness in Peru, modernity can’t surpass these foundations, including the blend of Incan culture and colonial architecture, which is what Patrucco’s work is showing us. His paintings focus on the natural state of the landscape, especially the beach, which is a big part of Lima’s culture, its food, its people, and lifestyle.

Patrucco explains, “I’m a painter who is influenced by his surroundings, and the disorganization of Latin American cities is something that fosters my work. In my case, Lima, where I’m from, had stopped being portrayed for at least 15 years. It has grown a lot since and in a very disorderly manner. I think that along with other artists of my generation, we have been faced with the challenge to reflect on that in a creative manner, but at the same time interesting enough to find a coherent and meaningful discourse.”

His work indeed shares a level of awareness to what is currently happening in Lima, which has become overcrowded with housing, buildings, people, and even cars. Patrucco’s work holds a suspension of nostalgia that comes from the people portrayed, who seem to be trying to adapt to all these changes while holding on to something precious to them; peace and tranquility. In the paintings, they achieve this state of mind by being with friends and family, or through simply being present in that moment while appreciating the simple things in life that bring joy.

The paintings are in very soft colors, which serve as a symbol for the emotions behind the setting, like a peacefulness of being at the beach even though there’s so many people there, there’s a cohesive sense of collective peace for the people portrayed.

When living in a changing city since there’s no time to stop and smell the roses, which is essentially what his paintings are doing. They are forcing the viewer to look at the details of the moment and grasp the experience. A little girl grasping her wet bathing suit while looking into the distance, a man staring at the sea of people at the beach, including the beach goers and churro boy. These among other examples create a sense of peace within themselves vs. their environment.

Patrucco uses with oil paints on canvas and the black and white is pencil on canvas. When asked about his process, he says, “When you first begin, you try to find your own voice in a sufficiently impactful and different manner. Then, you notice that what matters most is being able to work all the time while nourishing yourself with the small things in life and most of all to enjoy the process and not detach your soul or exercise your inner self to do it, but to work in a disciplined and coherent manner.”

Patrucco’s paintings force the city dweller to stop and smell the roses; something a city resident often doesn’t have time for. They are forcing the viewer to look at the details of the moment and grasp the experience. A little girl grasping her wet bathing suit while looking into the distance, a man staring at the sea of people at the beach, including the beach goers and the ice cream boy. These among other examples create a sense of peace within themselves versus their environment.

The paintings are in very soft colors, which serve as a symbol for the emotions behind the setting, like a peacefulness of being at the beach even though there’s so many people there, there’s a cohesive sense of collective peace for the people portrayed.

For more of the artist’s work, please check out his website. This interview was translated from Spanish.

Today’s poem is inspired by Pablo’s depth of emotion surrounding Lima, a city by the sea: 

MAR

By Luis Hernández

Entre la sombra voy 
                Juan Ramón Jiménez

 1

REFLEJOS SOBRE EL AGUA

 Las franjas suaves del agua
se pierden en la orilla.
– Es posible vivir;
está húmedo el aire
y reseca la arena….
– El viento trae gotas
fugaces y salinas.

El mar antes surgía,
sereno sin ser visto,
mi amor por él, ahora,
olvidará hasta el cielo.

El agua antes cantaba
infiltrada en la arena;
hoy, la busco hasta a ella
por el mar no saciado.

Ayer vimos las ondas
que subían perfectas,
hoy
nuestros pies las perturban,
nuestros cuerpos las quiebran,

Está el mar muy amargo,
hemos bebido
en un día sus aguas,
pisado sus riberas.

2

La última onda,
limpia y azul,
ha caído tan cerca
de mí
que puedo sentir
su pensamiento.

3

Vuelvo mi rostro,
arriba…
abajo en el fondo
pétreo y salino del pozo,
oriónidas estrellas
se hunden en la noche.

y 4

He cubierto en el mas
el vacío
entre estrella y estrella
creyéndolas mías;
mas la noche muere
y estoy tan solo
como antes.

A Walk in the Rainforest

Figure 1. One of Brugmann’s mural in Brazil.

The South American landscape is both a natural gift and a mysterious force. For many South Americans, the tropics of the rainforest represent the heart of a continent that has endured so much socially, environmentally, and politically. As each country continues to evolve from setbacks, the artists living there remind us of the beauty and resilience that’s very much present within the people, the scenery, and the culture.

Argentine artist Miriam Brugmann is part of a forward thinking sociopolitical mentality, which seeps through the messages in her work. As a resident of Rio de Janeiro, Brazil, her main muse is the verdant landscape surrounding her. Brugmann’s ceramics and paintings connect us with a mystical and beautiful world she creates to embody the liveliness of South American life; one that is constantly immersed in the unapologetic lifestyle of the people, the music, the appreciation for nature, and the streets of Brazil.

At the beginning of her career, Brugmann focused on paintings and illustrations. She then moved on to ceramics by creating utilitarian items such as flowerpots, cups, and plates. But something changed in her imaginative process and called her to become more message/goal driven with her work.

“There wasn’t a big creative process and it was all very basic, which wasn’t making me happy. I wasn’t conveying what I really wanted to get across. So I began creating unique ceramic pieces and I also returned to painting and making murals, leading me to the creative process again. I started finding and defining my style and focusing on what I wanted to communicate. Right now I’m between ceramics, illustrations and murals,” she explains.

Brugmann channels the spirit of her environments in her work as an avid observer of how everything represents a force beyond the ordinary; from the variety of plants to the colorful animals, to the empowered stance of Latin American women.

Figure 2. The artist and her work.

She adds, “Nature and the Brazilian landscape are crucial to my work, especially Bahia, which is very exuberant, and also Rio. There are a lot of mountains, trees and nature is everywhere. It’s very lavish. You’re looking at it the whole time and the images stay with me and go directly to the work I’m making.”

The rainforest elements in Brugmann’s work are a symbol of refuge that encourage viewers to connect with their roots and to embrace who they are today in relation to the culture from which their ancestors come from.

Figure 3. Ceramic pieces are part of Brugmann’s artistic talents.

Her ceramics are inspired by pre-Columbian pottery from Peru and Mexico. A style she first fell in love with at the Museo Rocsen in Córdoba, Argentina, which houses a collection of over 18,000 pieces of archaeological objects from all around the world. One can see where the inspiration emerged for her ceramics, as pieces from ancient Mexico and the Inca empire often portrayed daily details about how people lived and their environment/resources. When you observe Brugmann’s creations, you notice a sense of strength and beauty that capture the native life and its connectivity with nature and a higher ancient power. Her creations tell us that there’s so much to learn when it comes to culture, and if you look past the superficial elements you’ll find a world thriving in its organic existence beyond stereotypes and any social or political struggle.

A strong overarching theme in Brugmann’s artwork also points to female empowerment.  She explains, “[In my work] the care and respect for nature are aspects that were always present. And women, well it can be translated to something feminist like a message… there’s a support and a presence for that cause in my life.”

Figure 4. Empowering messages for the people of Latin America are important in Brugmann’s work.

The women portrayed in her paintings resemble mythical beings with a strong mission to positively affect their lives and communities. Some embody a messenger or spirit animal quality to them. With angelic wings and a fierce stare, these pieces evoke strength and a connection to native cultures, including those indigenous to the rainforest. They represent women who are in touch with their inner power by fending for themselves, the animals, and nature overall in a peaceful yet assertive manner by prioritizing mother nature in a similar way the native people of South America did since pre-Columbian times.

In a way, Brugmann’s work shares the evolution of these women, who like myself, have witnessed social change that hasn’t always been in our favor. Yet thanks to these transitions, more South American women feel revolutionized to embrace their inner power while creating resistance and awareness on human rights and the rights of many generations of women to come.

Explore more of Brugmann’s work by visiting her page. All photos courtesy of the artist.

* Interview translated from Spanish.

The following prose is inspired by the strength and love of nature found in Miriam’s artwork:

at the maracuyá tree

By claudina milagros

On the left side of the maracuyá tree sits my mother,

Her face reflects anxiety of the past.

I tell her she raised two strong daughters who turned into mothers

And that painting those neon floral tablecloths at the market was her artistic gift.

She smiles and pours fresh soil at the base of the tree.

Humidity is in the air.

On the right side of the maracuyá tree sits my sister,

Her peaceful face reflects hidden fear of what’s to come.

I tell her she raised two resilient boys, and that she makes a rainy day seem sunny with her laughter.

She smiles and waters the soil all around the tree.

In front of the maracuyá tree stands my reflection

It asks, “What do you see?”

“ I see discernment in the eyes of the moon and the sun. A woman whose work has been transformed but is not yet done,” I reply.

A ripe maracuyá falls at my feet. My toes are sprinkled with soil.

I pick it up along with my shovel. I walk, dig and plant a small fig tree.

For another mother, another sister, another friend and another daughter.

The cerulean bird follows my steps as I walk towards home

My hand guided by the burning sun behind the lush trees of the rainforest.

*Note: maracuyá is passion fruit in Spanish.