Category: Painting

A Mindful Mural

When this article was written, the Public Art Committee and I were full of enthusiasm and anticipation. Months of meetings, preparation, and planning were beginning to culminate in the realization of a new mural and in a series of community-driven programs that would accompany the mural’s unveiling. Students and volunteers from the community were gathered to assist with the fabrication. However, with the arrival of COVID-19 in March, it was no longer safe for communities to gather the way we were used to, and many plans were suspended. 
Despite all of this, creativity continued on. Cecilia Lueza safely worked alone to complete a vibrant mural, titled Exuberance, which exudes an uplifting message of well-being that feels all the more necessary in the midst of a pandemic. Once it is safe to gather together once again, we still plan on hosting events to celebrate the completion of Exuberance and to raise awareness of health and wellness resources for our community–and I, for one, am looking forward to that day!
Amanda Poss, Gallery Director, Gallery221@HCC Dale Mabry Campus

The 2019/2020 Grounds4Art@HCC
Health & Wellness Mural 

by Jeffrey Rubinstein

Students, faculty, staff, and visitors to Hillsborough Community College’s Dale Mabry campus must be noticing a much higher presence of art, murals, and especially, student involvement in the college’s public art projects. Recently, HCC has also increased its footprint for health, wellness, and food security programs. With the ever-growing awareness of the connection between food security and academic performance, members of the HCC Public Arts Committee, Feeding Tampa Bay, Bay Art Files, and The City of Tampa Arts and Cultural Affairs joined forces and began meeting last year to design and create a large, visually engaging mural on the exterior of the Social Sciences building of the busy, urban Dale Mabry Campus in Tampa. The mural will be a permanent reminder that each of us must proactively sustain our well-being through health and wellness.

Under the direction of Gallery Director Amanda Poss, Gallery 221@HCC received a grant from the Arts Council of Hillsborough County for the 2019-2020 mural project. The project was conceived by the Grounds4Art@HCC initiative, HCC’s public art program, formed in 2018. Two other community-centric exterior mural projects have been completed to date, with more in the works as additional funding and sponsorships become available.

The first Grounds4Art@HCC Mural was created by Florida-based artist Michael Parker in collaboration with HCC students during the spring of 2019. Visible from the main courtyard of the campus, the 67-foot-long mural titled Infinite Transitions is located on the ground floor of the Learning Resources Center (DLRC) and is directly below Gallery221.

Egyptian artist Aya Tarek’s large-scale mural was the second public art project to be completed on the HCC Dale Mabry Campus. Tarek, a prolific artist who has created murals in Cairo, Berlin, São Paolo, and Portland, worked on campus with HCC students and community members to fabricate the mural. Titled Painting Ourselves Visible, the mural project and related programming sought to celebrate and increase the visibility of Arab, Middle Eastern/North African (MENA) and Muslim communities in the Tampa area. Organized in conjunction with the community organization Art2Action, this project was made possible with the support of the Gobioff Foundation Treasure Tampa Grant and can be seen on the west side of the Humanities building (DHUM).

Poss explains and gives us insight into the process for such a large project involving so many various local entities: “Our newest Grounds4Art@HCC mural is envisioned as a creative placemaking project that sheds light on the theme of health and wellness. The mural will provide vibrancy and color to the heart of campus while at the same time highlighting the Social Sciences building as the home of our campus’ newly established food pantry.  It will be a large canvas for the artist to work on–over 65 feet in length spanning the upper section near the building’s southwest entrance.“

Artist Cecilia Lueza at work on one of her numerous public art projects located throughout Florida and the southeastern United States.
In early 2020, artist Cecilia Lueza participated in a comprehensive and interactive discussion about health and wellness with HCC Dale Mabry Campus students, faculty, staff, the campus Public Arts Committee, and members of the Tampa Bay community.

The focus of this exciting project is health and wellness, will culminate in a dynamic and visually engaging mural by Cecilia Lueza, an Argentinian-American artist-based in Tampa Bay. The mural will be the final step in a long process that involves HCC students from its inception. In early 2020 on the HCC Dale Mabry Campus, the public arts committee, the artist, staff, faculty, students, and members of the Tampa Bay community engaged in a comprehensive and interactive discussion that allowed the artist to hear directly from students about how they think about health and wellness, and how this can be interpreted visually. The artist will ultimately, create the mural, but the image is based on feedback suggested by HCC students. Lueza described the feedback she received, “The majority of the students suggested the mural should inspire, connect, beautify, stimulate thought, have a sense of motion, and be geometric, bright, energetic, lively and represent mental health in a positive way.” Lueza presented three design options on February 14th and voting commenced until the 17th.

Based on the winning design, the mural will be an impressive composition of a fit and healthy young person, possibly a student, her head and eyes skyward, all in a palette of vibrant tones, at the prow of a flowing wave of energy that she creates. The image is provocative enough to allow viewers to contemplate the mural’s themes. Health and wellness are more than what we eat or how often we go to the gym. It is a mindset and lifestyle that includes our thoughts and attitude toward life and the energy we create and leave behind us.

Poss expands: “The majority of the mural’s fabrication took place in March and April and we are planning a free public unveiling party and related programming to occur in the Fall of 2020. Everyone who would like to participate in will be encouraged to attend, whether they are a part of the HCC community or a member of the Tampa Bay area community at large.”

Artist Cecilia Lueza high above the ground in a cherry picker during the Spring 2020 installation phase of Exuberance, the newest addition to HHC’s public art program on the Dale Mabry campus. Located on the exterior of the Social Sciences building, the mural takes its inspiration from issues related to food insecurity, mental and emotional health, and social and cultural inclusion.

To be officially dedicated and unveiled in the Fall of 2020, the mural Exhuberance will be on permanent display on the HCC Dale Mabry Campus in Tampa and will be a visual reminder to the entire community that health and wellness are part of a journey to be embraced that includes more than exercise and nutrition but exposure to the arts, as well.

About the author

Professor Jeffrey Rubinstein is the English Discipline Chair and the college-wide Tenure Committee Chair at Hillsborough Community College in Florida. Based on the Dale Mabry Campus in Tampa, he is a founding member of Grounds4Art@HCC.

About the artist

Argentine American artist and sculptor Cecilia Lueza, studied visual arts at the University of La Plata in Buenos Aires, Argentina. Today, she is well known for creating vibrant public art pieces in a range of mixed media. Since 2000 she has been working on a variety of public art projects in many cities throughout the United States. Her work has been exhibited at Art Miami, Arteamericas, and Scope Miami Beach, and in the last year she completed public art pieces in Washington DC, Jacksonville FL, West Palm Beach, and St Petersburg FL among others.

Additional reading

Maggie Duffy, Bright Spot and Art Reporter
Tampa Bay Times
April 28, 2020

What’s it like to paint a mural in isolation? This Tampa artist shares her experience Cecilia Lueza socially distanced on a lift for the project at Hillsborough Community College.

Tongue and Groove – Exploring a Common Visual Language

Tongue and Groove – Exploring a Common Visual Language
Creative Pinellas, Largo, FL
July 11 – July 28, 2019
Opening reception: Thursday, July 11, 6 – 9 pm
The curator and the artists will do a gallery walkthrough at 6:30 pm and 7:30 pm. Free and open to the public

Traditionally, the creative process is considered to be a solitary one. So it is that there is something very interesting about examining how artists’ works might work together and the results that happen when that occurs. Kathy Gibson, an independent curator with a considerable resume of exhibitions, gallery experience, and leadership, has brought together two artists to examine how very real synergies might arise out by combining the work of two artists. Specifically here, Babette Herschberger and Ry McCullough whose works have been brought together for the exhibition, Tongue and Groove, showing at Creative Pinellas from July, 11th. The exhibition’s subtitle ‘Exploring a Common Visual Language’ makes explicit as to how a dialogue between two artists can be productive. Gibson states, “There is a palpable visual connection, a similar visual language regarding line, color, shape, and composition…. this exhibition celebrates a third element that is created when the works of these two artists are combined.” 

Installation in progress view of Tongue and Groove – Exploring a Common Visual Language

Both Herschberger and McCullough are relative newcomers to the Tampa Bay Area. They both arrive with an impressive track record and their contribution to the local art scene is already one to be much looked forward to. Furthermore, it should be noted that also relatively new Creative Pinellas is quickly developing into a cultural powerhouse. At their headquarters at the former Gulf Coast Museum of Art in Largo there has already been a very impressive exhibition program in their splendid galleries. 

Here, at Bay Art Files we are very pleased to be sponsoring a Coffee and Guava drop-in on Thursday, July 18th, between 10:30 am – 1:30 pm. The artists and the curator will be in attendance and open to questioning/discussion. We do hope you will be able to attend.

About Babette Herschberger

Babette Herschberger was born in Indiana and graduated from the Art Institute of Fort Lauderdale with honors. After many years as a successful working artist in Miami, she moved to St. Petersburg where she has created a live/work studio. Her work has been in exhibitions at Visceglia Gallery, Caldwell University, The Gulf Coast University Gallery, The Hollywood Art and Cultural Center, The Fort Lauderdale Museum of Art and The Florida State Capitol Building. She has also been represented at “Art Basel Miami/Scope Art Fair”, “AAF Contemporary Art Fair”, New York, “ArtExpo Atlanta”, “Art Expo New York”, and is in the corporate collections of American Airlines, Bank of America, The Fontainebleau Hotel, The Four Seasons Hotels, Neiman Marcus, the University of North Carolina, Continental Real Estate Companies, Crescent Miami Centers, White + Case LLP and Quantum on the Bay Collection. Her work is represented by Cheryl Hazan Contemporary Art, New York City and Mary Woerner Fine Arts, West Palm Beach.

About Ry McCullough

Ry McCullough is an artist and educator, working in Tampa. He earned is his Bachelors of Fine Arts from Wright State University in Dayton, Ohio where he concentrated in the areas of printmaking and sculpture. Upon completion of his undergraduate work he served as the Director of Sculptural Studies as well as teaching printmaking at Stivers School for the Arts. McCullough received his MFA in Printmaking and Book Arts from the Lamar Dodd School of the Art at the University of Georgia. He currently is serving the Department of Art + Design as an Assistant Professor of Art at the University of Tampa. McCullough has exhibited internationally and is the founder of the Standard Action Press Collaborative Zine Project.

About Katherine Gibson

Katherine Gibson is an independent curator and regional art consultant living in St. Petersburg. She has curated exhibits for the Morean Art Center, Florida CraftArt Gallery, Lake Wales Art Center, Hillsborough Community College (HCC) Ybor Art Gallery and pop-up galleries in Polk & Hillsborough counties. Gibson is the former Director of HCC’s Dale Mabry gallery that she rebranded Gallery221. While Director, she doubled the exhibition space, established a permanent art collection and organized 30+ exhibits. Gibson received a 2018 Individual Artist Award from the St. Petersburg Arts Alliance for her Drive-by Window project.

We Must Go…

By Sabrina Hughes

The Museum of Fine Arts, St. Petersburg’s newest exhibition is Theo Wujcik: Cantos, a series of works based on Dante’s Inferno. The exhibition is in turns lyrical, poetic, and dark in keeping with Wujcik’s literary inspiration for the paintings.

If, like me, it’s been decades since thinking about Dante in any way, substantial or otherwise, a refresher on the basics of the Inferno will help add layers of interpretive flesh to the works in the exhibition. The Inferno is the first part of Florentine poet Dante Alighieri’s three-part epic poem The Divine Comedy. In this part of his journey, Dante travels through the nine circles of hell guided by ancient Roman poet Virgil at the behest of his love Beatrice who is in heaven and notices that Dante has wandered off his proper path. Dante trades the offer of fame in the living world for the tortured souls’ stories. Each canto in the poem is analogous to a chapter in the story.

C-2-C Invocation of the Muses, 1998. Acrylic on canvas. Collection of Alan J. and Sue Kaufman.

Like any proper epic poem, Theo Wujcik: Cantos begins with an invocation of the muses. In Dante’s second canto, he calls upon the muses to ask for creative aid in recounting his story faithfully. Wujcik’s paintings in the introductory gallery C-2-A and C-2-C, both subtitled Invocation of the Muses (1998), are not only an introduction to the themes of Cantos but also to the visual fragmentation and recombination that has come to be Wujcik’s stylistic hallmark. These first two paintings in the exhibition had at one time been part of the same canvas, but Wujcik excised these sections from the whole creating two distinct works. C-2-C, with its simple and recognizable votive holder motif paired with the title sets the mood for ritual experience.

Wujcik moved to Tampa in 1970 to join the staff at Graphicstudio as a master printer at the University of South Florida. He lived and worked in Ybor City until his death in 2014. Wujcik found inspiration in comic strips and other found imagery of the mass media. Several collages are included in the exhibition, revealing the way he combined and composed drawings, photos, and comics. The personalized symbolism that manifests in his work is pop filtered through the visual language of Florida. Ever present in his work since the mid-1980s is the diamond chain link fence motif. This visual device further heightens the fragmentation and visual confusion that begins in collage and ends on the canvas.

Men Were We Once (Canto XIII), 1997. Acrylic on canvas. Collection of The Terrier Foundation, Tampa, FL.

Wujcik’s personal symbolic structures are reworked in Cantos to metaphorically reference Dante. In Men Were We Once (Canto XIII) (1997), red drapery and a white button-down shirt represent Virgil and Dante. In this canto, the travelers enter the seventh circle of hell and meet those who have committed violence against themselves–suicides. These souls have been transmuted into tree stumps that speak and bleed. The empty wooden hangers directly reference both the wooden form of the souls as well as part of the punishment—that the flesh they used to “wear” now hangs like clothing among the trees. The comic strip imagery below the hangers hint at conflict and violence that they may have experienced in life, as well as the forest Dante describes in the story.

Theo Wujcik: Cantos is anchored by two large-scale paintings in the MFA’s collection: Canto II (1997) and Gates of Hell (1987).

Canto II, 1997. Polymer emulsion and charcoal on canvas. Gift of Bonita L. Cobb in memory of Nikki C. Cobb.

In Inferno, it is in Canto II that Dante learns how and why Virgil was sent to him—directed by three women in heaven looking out for his well being: Beatrice, St. Lucia, and Mary. Virgil has told Dante that they must travel through hell to get back on the proper path, and while Dante is at first brave, he quickly loses his resolve. He wavers not out of fear but from self-sabotage, uncertainty, and feelings of unworthiness.

In Wujcik’s Canto II, the viewer is confronted with an overwhelming fragmentation of images—one’s eyes slide over the monochrome surface looking for purchase, something solid to focus on. The element that resolves first and most prominently, that gives the eye a place to rest, is a large bolt in the upper right quadrant. The winding threads of the bolt may reference the concentric circles of hell that Dante is about to spiral into. Three butter knives are situated in the center of the canvas, large yet somehow almost invisible among the cacophony; below them appear three chain links all rendered naturalistically while surrounding and overlaid are cartoons and the ubiquitous diamond fence. Perhaps this jumble of overwhelming image fragment foreshadow the chaos and distress that Dante will experience in hell. Or perhaps it is all of the memories that Dante is attempting to make sense of to create a coherent narrative.

The Gates of Hell references Canto III when Dante and Virgil set out into the underworld. The gates are inscribed with verse ending “Abandon hope, who enter here.” This canto describes an area called the vestibule of hell where souls reside who took no sides in life. They are not in hell but neither are they out of it—eternally trapped in the liminal doorway due to their relentless self-interest in life. The sage figure on the left, presumably Virgil, encounters one such soul who, as described by Dante, is sentenced to eternally chase a banner while themselves being chased by bees (!). Further into the pictorial space is Charon, the ferryman for the souls who are driven by celestial balance to enter hell proper.

Gates of Hell, 1987. Acrylic and collage on canvas. Gift of Susan Johnson in honor of Katherine Pill.

In contrast to the thick chain link device that fragments the surface of Canto II, in Gates of Hell, the familiar device serves a different visual purpose. The figures and planes appear to be shaped from a diamond-wire armature. All are made of, behind and in front of the ubiquitous chain link motif. In this painting, the chain armatures are tantalizing. They create figures that are paradoxically solid and hollow. Like shades encountered in the underworld, they are simultaneously there and not. Rather than creating lines that obstruct and confuse the viewer’s progress through the pictorial space, here it creates and shapes the space.

The only solid elements in the painting are the pink door frame mouldings defining the edges of the space. Even these solid surfaces, however, when examined closely, reveal the chain links texturally embedded and painted over. Wujcik used paper towels, polymers, and other inclusions on the canvas surface to produce dimensionality on his otherwise relentlessly flat painting surfaces.

PSST!, 1997. Acrylic on canvas. Collection of Beth Daniels, Largo, FL.

Cantos provides viewers a way out of Wujcik’s Inferno with the paired paintings We Must Go (Canto XXXIV) (1997) and PSST! (1997) where the exit from hell is fittingly made of cantilever patio umbrellas. In We Must Go, the horizontally-mirrored umbrella canopies float on a white ground. It is a simple yet elegant composition that so subtly references the Inferno that were it not for the title, I think a viewer would not make the connection. PSST! is a painting after a preparatory collage included in the first gallery. Here, one umbrella canopy shape is filled in with a domestic scene from what looks like an interior design publication decades old even at the time of the painting’s creation. The mirrored canopy contains fragmented comic strip imagery, juxtaposing two different rendering styles, one an idealized interior space, the other a cartoon. In Dante’s Inferno, Canto XXXIV is the final one, where Dante and Virgil have come to the center of hell where Lucifer resides in stasis. In order to leave hell, they must climb down Lucifer’s torso to a point, only visible to those who know to look for it, where a threshold is crossed, gravity is inverted, the world is topsy turvy, and they are no longer in hell. In PSST!, especially as it is in conversation with the preparatory collage where the composition is inverted, the question is which is the ninth circle of hell and which is the way out? Is the ideal home scene hell or the way out?

Wujcik’s Cantos represent a theme that he returned to over the span of more than a decade. In other words, it wasn’t a thought that was completed easily. As Dante experienced, hell is not traversed easily, and the only way out is through.

Bay Art Files contributor Sabrina Hughes holds an M.A. in Art History from the University of South Florida, with a focus on the History of Photography. Hughes has worked at the National Gallery of Art and the Museum of Fine Arts, St. Petersburg and is an adjunct instructor at USF and is the founder and principal of photoxo, a personal archiving service specializing in helping people preserve their family photos. She also has an ongoing curatorial project, Picurious, which invests abandoned slides with new life. Follow her on Instagram @sabrinahughes for selfies, hiking, and dogs, and @thepicurious for vintage photos.

Theo Wujcik: Cantos is on view at the Museum of Fine Arts, St. Petersburg through June 2, 2019. In tribute of the artist’s love of the Ybor City night club scene, the MFA’s support group The Contemporaries is hosting a dance party fundraiser “Theo’s Inferno” on Friday, May 17th at the Museum. 1980s punk and new wave tunes spun by Tampa-based DJ Gabe Echazabal, Ybor City-themed food offerings, and an open beer bar will set the retro tone for the evening. General admission is from 7 – 10 pm with an extra special VIP offering starting at 6:30 pm featuring a private tour by Susan Johnson of the Theo Wujcik Estate and MFA Curator of Contemporary Art Katherine Pill. Advance tickets available for purchase online at the Museum’s website.

Theo Wujcik: Cantos is on view at the Museum of Fine Arts, St. Petersburg through June 2, 2019. In tribute of the artist’s love of the Ybor City night club scene, the MFA’s support group The Contemporaries is hosting a dance party fundraiser “Theo’s Inferno” on Friday, May 17th at the Museum. 1980s punk and new wave tunes spun by Tampa-based DJ Gabe Echazabal, Ybor City-themed food offerings, and an open beer bar will set the retro tone for the evening. General admission is from 7 – 10 pm with an extra special VIP offering starting at 6:30 pm featuring a private tour by Susan Johnson of the Theo Wujcik Estate and MFA Curator of Contemporary Art Katherine Pill. Advance tickets available for purchase online at the Museum’s website.

The Museum of Fine Arts, St. Petersburg received generous support for this exhibition from Ann and Bill Edwards and The Gobioff Foundation.

Light Through Her Hands: Patricia Cronin at the Tampa Museum of Art

Installation view of the exhibition "Patricia Cronin, Aphrodite, and the Lure of Antiquity: Conversations with the Collection" at the Tampa Museum of Art. Photo: Eleanor Eichenbaum

Artist Patricia Cronin’s “Aphrodite and the Lure of Antiquity” is the inaugural exhibition in the Tampa Museum’s Conversations with the Collection, which puts contemporary art in dialogue with classical antiquities. The exhibit fills two large galleries and the outdoor terrace on the Museum’s second floor. Cronin, a widely recognized Brooklyn-based artist, offers a show that is thoughtful, feminist, materially dazzling, and asks dimensional questions of the fragment and the whole.

The exhibition features three main series of works, all of which engage materially and conceptually. The works feature tactile media; from stone to glass to blue painter’s tarps, to create a densely layered experience. The works echo with female multiplicity— the woman as artist, the woman as symbol, the woman as present, the woman as absent. Cronin interrogates what is missing – in the history of women, of women artists, and in physical reality. Sculptures may be partial, paintings may contain traces, negative space may be charged.

Walking through the exhibition, a viewer threads connections between thoughts and works. Seams – flickering lines of betweenness— are integral to the character of the show. Cronin’s works hinge on the possibility of questions made visible, of touching the ephemeral through noticing the absent.

Installation view of the exhibition "Patricia Cronin, Aphrodite, and the Lure of Antiquity: Conversations with the Collection" at the Tampa Museum of Art. Photo: Bay Art Files.

The gallery closest to the stairs, where the visitor arrives, features works from the Aphrodite Reimagined series. Cronin’s mastery of material choices resonates in this cool bluish room where the sculptural pieces converse with the layered works on the walls. Large paintings with gossamer transparencies depict outlines of individual Aphrodite sculptures from various museum collections. The paintings show the different presences of these particular Aphrodites; the form of the sculptural body is featured in relief, the background rendered as an aqueous field. Viewing these many traces of Aphrodites, a viewer may consider multiplicities in Aphrodite’s symbolic identities and in the histories of these sculptures. Cronin’s paintings are soft and illuminate the ineffable space between line and body. These works conjure what is ghostly, what is fluid— a seam of the permeable that runs through the show.

Of particular interest is Cronin’s Aphrodite (Metropolitan Museum): a two-part sculpture made of deep green cast glass displayed on a pedestal, its two halves set apart by a cushion of space. This piece is Cronin’s first work in cast glass and displays the sculptural body as impression. The seam, a site of joining to create a potential whole, is rendered visible here through the two halves that the viewer may work to visually assemble. In addition to its watery translucence, the apt material choice holds the moment the molten glass stills. This quiet interrogation of the momentary resonates in the exhibition.

Cronin’s moving Memorial to a Marriage and works that focus on the 19th-century American female sculptor Harriet Hosmer share the next large gallery. These works amplify questions of presence and absence. Memorial to a Marriage is functional as an iteration of memorial sculpture in Woodlawn Cemetery for Cronin and her wife, the artist Deborah Kass. They are depicted in marble, asleep and embracing under folds of sheets. The sculpture witnesses the connected lives of two female artists and holds both tenderness and contemplative melancholy. The creamy stone is perhaps the exhibition’s most taut moment of absence, as it materializes questions of mortality. Memorial to a Marriage was initially created in 2002 and predates the legalization of gay marriage by the United States Supreme Court by thirteen years. Another kind of booming absence – one of equality.

Through the project Harriet Hosmer: Lost and Found, A Catalogue Raisonne, Cronin illuminates Hosmer’s work and asks that the viewer see the artist’s works that have been lost to history. Cronin renders these lost works as watery shimmering outlines on paper and as towering abstractions on fabric – revealing each as a glance, a shadow, a ghost. The threads of what was lost are realized in two monumental wall-mounted silk pieces: Queen of Naples and Ghost. The fabric cascades far above the viewer’s height and the air in the gallery animate these pieces with slight billows. The works are both subtle and imposing, like an urgent but hazy memory or like blinking in a dark room trying to find her.


Installation view of the exhibition "Patricia Cronin, Aphrodite, and the Lure of Antiquity: Conversations with the Collection" at the Tampa Museum of Art. Photo: Bay Art Files
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Installation view of the exhibition "Patricia Cronin, Aphrodite, and the Lure of Antiquity: Conversations with the Collection" at the Tampa Museum of Art. Photo: Bay Art Files.

The her that the viewer ultimately finds is Cronin’s outdoor sculpture, Aphrodite Reimagined. She towers above the viewer and dialogues with light and landscape, her face towards the Hillsborough River. The piece, a whole composite Aphrodite, was inspired by a fragmentary 1st-century AD sculpture in the Museum’s classical antiquities collection. In fact, the viewer may encounter the ancient marble torso on display in the gallery, before proceeding to the terrace. This impression of the fragmentary flashes and is enforced in Cronin’s monumental, Aphrodite Reimagined. Strikingly, her legs, feet, arms, hands, and head are translucent resin, pale green and watery while the draped torso is gray and fixed in stone. Outside, these glassy hands catch light. Light slips through them – a prismatic recasting of stubborn histories. Hands, the means by which we count, gesture, touch, and hold are rendered physically anew from a material that mimics absence and calls attention to what we can now see.

Eleanor Eichenbaum is a writer and educator based in St. Petersburg, Florida. She is also an independent curator of visual arts and has organized exhibits in New York, New Jersey, and California.

Patricia Cronin, Aphrodite, and the Lure of Antiquity: Conversations with the Collection is on view at the Tampa Museum of Art through March 17, 2019.
For more information, visit the museum’s website at tampamuseum.org.

DORMANT Edgar Sanchez Cumbas at HCC Ybor

On view at the HCC Ybor City Art Gallery through Thursday, October 25, 2018. Photo: Courtesy of the artist.

Dormant

by Caitlin Albritton, 2018

 

Suggesting something alive yet perhaps not actively developing, Edgar Sanchez Cumbas’s solo exhibition Dormant aims to question our internalized bigotry—the sleeping beasts within us—concerning colorism, racism, and identity.

Converting statements Cumbas has overheard people make about race or color and turning them into titles, these bits of poetic syntax add a touch of narrative to his abstract pieces. The verbal dismemberment in some of the names, like “Tan Neck” or “Skinned and Toned,” mirror the violence in the sharp, dangerous-looking forms in his “Neck” series, which reference the exoticism of hunter’s trophy heads placed on display.

Cumbas’ primary palette is limited to black, brown, yellow, tan, and white. From here, he adds his “secondary” colors—reds, greens, and blues—to create more multifaceted complexions. The added textures and forms are at once recognizable, yet unfamiliar: they create a push/pull situation where at one moment, the textures transform into a smear of luscious frosting, and at the next, they may look more akin to a mass of internal organs or a gaping wound.

Though his works are politically bent, Cumbas’ work refrains from the didactic; instead, his hand serves as a filter to distill information from the outside world to create something new that speaks to contemporary life. The tactility of his mark making in both his paintings and sculptures create a rough topography of built-up anger and resentment to the political climate, yet the soft, sensual surfaces also demonstrate Cumbas’ sensitivity to both his subjects and material. Overall, these works serve as an autobiographical statement of living through this current moment of transition.

This essay was commissioned by HHC’s Visual & Performing Arts Gallery and published as a gallery guide in conjunction with the exhibition.
Posted on Bay Art Files with permission by the author, artist and the gallery.

Detail of a work included in the exhibition.

 

Caitlin Albritton is an artist and freelance writer based in Tampa with a BFA from Savannah College of Art and Design and an MFA from Maryland Institute College of Art. When she’s not looking at art throughout town, she can be found making it. You can keep up with her visual art on Instagram @caitlinalbritton or on her website.

Edgar Sanchez Cumbas DORMANT is on view at the Hillsborough Community College’s Ybor City Campus School of Visual and Performing Arts Gallery through Thursday, October 25, 2018.  The public is invited to a reception on Thursday, October 11,  from 4:40 – 7:15 pm with the artist scheduled to speak at 5:30 pm.  For additional information: www.hccfl.edu/yborgallery.