Embracing Identity

My surname is Greco, my paternal grandfather fiercely proud of our rich heritage; clearly my roots are Italian, but in all honesty I’ve only just begun to recognize and appreciate the impact my cultural patrimony has had on me,as an artist and in many ways as a gay man.

I was inspired to reflect upon this existentially while submitting to a group show exploring and celebrating the Italian diaspora. I am the offspring of Calabrians who fled the poverty of their region for the fabled bounty of the New World. Setting sail in the teens of the early 20th century, my great grandmother came armed with a cheap gilded ring set with blue glass (which I now treasure ) and a feisty spirit. Incredibly small people and brown as a nut, my great-grandparents were frequently met with bigotry and prejudice.

Yet they persevered, settling in Trenton N.J., they were embraced by fellow immigrants (many from Naples) in the Italian American enclave known as Chambersburg (colloquially known as the ‘Burg). It is there that they opened water-ice parlors, manned grocery markets and in the twenties, my grandfather, as a boy,  ran rum for the mob. Ultimately the family prospered enough to move to the suburbs, sadly leaving the cultural richness of the ‘Burg behind for the homogeneity of the NJ suburbs. My grandfather never felt like he quite fit in with his “white” neighbors, but the pride in his hard earned prosperity was palpable and difficult not to appreciate.

For me, as a sensitive queer boy, artist wanna-be, the suburbs were an aesthetic  hell. Cultural deserts where “Mediterranean” evoked cheap flocked wall coverings and abominations upon inky velvet graced many a family room. My  boyhood salvation was mass at the family church back in Chambersburg, Immaculate Conception, a 19th c. Gothic Revival pile, redolent in incense, ritual and gilt. It was heaven, and to this day I remember gazing up at its painted ceilings in wonder, and knowing one day, I too would be an artist. My grandfather assured me that was absolutely possible for Italians were especially gifted artists ( although he also insisted that the Irish were particularly gifted in depicting angelic hosts- where or how how he came to this opinion is something I still think about).

Link to images of Immaculate Conception: https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/874405 ; links to other wonderful Catholic churches in my hometown , which I posted a few years back: https://babylonbaroque.wordpress.com/2010/08/03/recquiscat-in-pace-sts-peters-and-paul-trenton-churches/

So now, in submitting to Italianitá, hosted by the Italian American Museum here in LA, I put to paper the influences my heritage has had on my art and my identity. This is what I came up with:

Leonard Greco
Artist Statement

As a child of Italian-American descent (my paternal great-grandparents arriving from Calabria in the early 20th c.),I was raised in the culturally impoverished suburbs of NJ, yet it was my Italian roots that nurtured my aesthetic and acted as a balm to my artistic soul. Be it the street theater of Feast Days, the Madonna paraded and joyously lauded, the Festival of Lights, or the gilded grandeur of my parish church, it is clear to me that these influences decided my fate to be an artist.
In my work I explore the extremes of human existence through the presentation of archetypal figures undergoing transformation and experiencing salvation, rebirth and enlightenment; not unlike the art of Rome, be it sacred or profane. My paintings are self-contained narratives concerned with universal themes—birth, life and death— that stem from my personal experiences and passions. These include my love of classical mythology, Roman Catholic saints, the Italian Renaissance and Baroque, as well as the commedia del arte , low brow erotica and Surrealism.
As a queer artist my work frequently reflects a sensuality not unfamiliar to Italian art and culture. In this work I am searching to find the divine in the everyday, to show that all life, in all its incarnations is indeed sacred and beautiful. The works are metaphors that explore human relationships and interactions from myriad points of view and ultimately are about my understanding of my place in an ever-changing world.

Seizing Sanctimonium
2016
oil on canvas

My oil painting Seizing Sanctimonium is an allegorical homage to personally well loved artists such as Mantegna and Poussin and also a psychological exploration of my own spiritual and existential angst. Employing Renaissance compositional techniques such as one point perspective and borrowing freely from the drama of the Baroque stage, my intention was to evoke the tensions that arise between powers. In this instance, the Roman Church here being confronted by the Old Gods. This tension is palpable in ancient cities such as Rome and Mexico City, where timeless allegiances are everywhere, the old gods literally arising from the earth. Attempts to integrate the old ways into the orthodoxy of Christian faith creates a tension that is complicated, painful yet often dazzlingly beautiful. As a gay man, a artist and a Roman Catholic these tensions are personal, familiar, and frequently painful; conflicted by dictates of the Church and personal truths (embodied here by the Old Gods), it is in my desire to express this pain and to synthesize the diverse elements of my being. It is my hope to create work in my own voice, my own purpose and my own understanding of beauty.

Hadesville
2016
oil on canvas

My oil painting Hadesville is yet another homage to works of art that have influenced and inspired me. In this instance the Hellmouth warnings found in late Medieval and early Renaissance churches. These fantastical works are frequently the most inventive, adventurous, not to mention humorous works of art found in Christendom. Mostly attributed to anonymous artists, they continue to beguile , I am not alone in my appreciation. My painting Hadesville recalls such works, employing universal elements such as the aforementioned Hellmouth and symbolism that is personally meaningful.
In addition to the High Medieval, I also nod to Dante and his Divine Comedy with my own oddly disconcerting guides found in the upper left portion of the composition. Navigating the complexities of life, spirituality, sensuality (and the Underworld) was enthusiastically explored by the Italian masters of quill and brush,my humble aim is to add to that conversation.

Daphne
2018
Mixed media/fiber art

Daphne is part of a new body of three dimensional work that I identify as Stuffed Paintings. These painted and stitched figures are intended to evoke the dramatic presence of Baroque theater and sculpture (most specifically, as in this case, Bernini). These pieces, Daphne included, frequently explore the power of transformation, sacrifice and redemption . Ovid’s Daphne,suffering divine injustice and paternal betrayal, ultimately finds “salvation” through metamorphosis (in her case, that quintessential symbol of Classical triumph and victory,the laurel bough).With that in mind, the theme of Daphne felt ripe for personal reinterpretation.
It is in this framework I wished to create my own response to Bernini’s ravishing marble masterpiece. In exploring the challenges presented in life, be it familial discord, conflicts with identity or romantic entanglements, my intention was to document the turmoil and anguish necessary to personal development. In so doing, I not only shift mediums from solid stone to pliant fabric, but I also swap gender, making this embroidered and painted allegory my own.

In closing, my grandparents.

Tommy & Mary (anchorbabies?)
2017
oil on panel
8 by 8inches

 

Pop Surreal Playhouse: an Honor, a Tribute and a Note of Gratitude

 

It is always wonderful to be curated into a show, better yet if the curators are held in high esteem personally, the icing then is a favorable review (yet again by a someone you admire).

Such was my good luck.

I had the good fortune to be selected for Pop Surreal Playhouse , a group show curated by the deservedly lauded Greg Escalante and Wendy Sherman (sadly Mr. Escalante’s last show, having died only weeks prior to the opening). The Art Share LA opening of Pop Surreal Playhouse was bittersweet , whilst personally gratifying on a professional level given Escalante’s vision and influence locally, nationally and internationally (Pop-surrealism’s reach is global, just read his New York Times obituary); but it was bleak moment to be reminded that I would not be able to thank him personally.

I did however have the chance to chat with Wendy Sherman, a great supporter of the arts (including my own) ; we must treasure and frequently acknowledge these friendships given how fleeting our time is. Hoping Wendy knows how much I value her support and interest.

“Reflection of a Harsh Super Ego” at Pop surreal Playhouse, curated by Greg Escalante and Wendy Sherman (seems to be a typo in gallery banner).

So with all that I start this frantic week with a wonderful review by Betty Brown for Art and Cake. Brown is a art historian with an uncanny ability to connect the dots from seemingly obscure points in humanity’s cultural journey. That she so aptly “got” my work, my references and my intentions (when more than I few critics do not) was immensely gratifying. Thank you Betty and thank you Art and Cake for providing a forum dedicated to art in Los Angeles.

This is the review, great images of the exhibition within:

Pop Surreal Playhouse at Artshare LA

Opening night was festive in spite of it being a memorial to Escalante. I did not know the man but from recollections of the fellow, he seemed a man of high spirits. I hope he appreciated the turn out and the works offered by the artists as tributes to his legacy.

Pop Surreal Playhouse runs through October 22nd, if you haven’t seen it , it is well worth a trip to the Arts District.

At the opening, I was particularly delighted to see so many of my friends in the show and in attendance. This snapshot of my young friend, the talented artist Dakota Noot makes me smile. Dakota is perhaps my most glittery friend and I value the joy he and his work brings to the world.

 

Pop Surreal Playhouse runs through October 22nd, if you haven’t seen it , it is well worth a trip to the Arts District.

The author and the artist Dakota Noot at Pop Surreal Playhouse (my “Hellmouth Mask” over my shoulder.)

So much so that I’ve included his work in the next show I’ve “hosted” (curated sounds so pompous ). The show is called Hellmouth which will open this Saturday, October 14th, 7-10 pm at Ave 50 Studio here in LA. I’m very excited by the show, wonderful art including Noot’s fantastic Bacon Wants a Taste.

Dakota Noot
“Bacon Wants a Taste”
2017
Acrylic on canvas
30 by 30 inches

I will be posting about the show, its intentions and the fabulous art after its opening, but for now the gallery is ready and I will leave you with this image of Hellmouth.

Hellmouth, curated by Leonard Greco, Ave 50 Studio, Los angeles, CA, 2017

Of Faeries & Daemons

Detail from “The Reflection of a Harsh Super Ego”
2017
Mixed media

The last few weeks have been a whirlwind for me, I’m trying now, not very successfully, to collect myself.  Between the move into a new space, multiple shows and now an inferno has set upon the City of Angels, I find myself quite discombobulated. Now that I have a semblance of internet (thank you Hotspot, whatever the hell that is), I feel less adrift.

 To procrastinate, I’m enclosing a few images from recent shows, “Satan’s Ball” at Art Share LA and more recently, this last weekend’s “Fairyland”, my solo show at Ave. 50 Gallery.

“The Wodewose”
2017
Mixed media
Image by Stephen Levey

A pleasant surprise was meeting the photographer Stephen Levey who took some excellent images of my work. I was quite delighted to see how he captured the moodiness of my figures. 

“Adam, the Minotaur”
2016
Mixed media
Image by Stephen Levey

I’ve tried for some time to capture my first “Temptation of St. Anthony of the Desert”, Stephen, seemingly effortlessly, snapped a great image. 

‘The Temptation of St. Anthony of the Desert”
2013
oil on canvas
36 by 48 inches
Image by Stephen Levey

The preparation for the opening of “Fairyland” was daunting, with packing up the old studio, moving into the new and all the details that go into a transfer from one place to another, I was rattled. Particularly grateful to Dan Fernandez who handled my installation expertly.

Mr. Fernandez

In the end it all came together and the opening was just splendid…hot as Hadesville , but splendid.

The artist with “Goblin Market”
The artist with “The Reflection of a Harsh Super Ego”.
The artist with what matters most, his loving and supportive friends.

I was so touched by how many of my friends stopped in, in spite of a plethora of  competing openings, in spite of the gallery’s rather isolated situation and in spite of the terrible heat. In spite of that , the support was thrilling. Thank you my friends, friends I’ve known for awhile and to the new ones I’ve just met.

Art making is isolated work but it is the community one finds that encourages and delights. I’m pretty delighted at the moment…in spite of fierce Apollo.

With my dear friend Kristine Schomaker , founder of Shoebox PR; call her, really!

 

 

 

Final Post from Eagle Rock

Final days @ 1053 Colorado

As what had been a very delightful sanctuary becomes barren and littered with bubble wrap and pugs , I wanted to make one last post from my creative home of the last two years. Although eager to settle into larger digs, I will miss this place (particularly its excellent air-conditioning ). 

This is proving to be a busy moment in my life. The movers arrive this Saturday and that evening I have an opening , Satan’s Ball, a perennial favorite -I have five pieces in that show. I may be pooped after the move but looking forward to being part of the festivities at Art Share LA. Then my solo show Fairyland July 8th. Frantic, daunting, exciting.

I was delighted to be notified that my drawing The Rape of Our Mother had been accepted into the Brand 45 Annual National Exhibition of Works on Paper. I was particularly excited because the juror was Leslie Jones, Curator of Prints and Drawings at LACMA- my submissions were unmistakably drawings in that old fashioned way  and I having her validation was important to me.

“The Rape of Our Mother”
2016
colored pencil on paper

I had failed to mention that my painting Hadesville won 3rd Best of Exhibition at CEDARFEST 32, at the Lancaster Museum of Art and History, Lancaster, CA.

I was beaming with a goofy grin.

3rd Best of Exhibition “for the artwork titled ‘Hadesville'”

The day after the award ceremony Facebook rather magically reminded me of what the painting looked like a year ago.

This “memory” popped up.

June 17, 2016
unfinished

And a year later:

Packing has produced some novel still lives that I am eager to figure into compositions for new paintings, this being the most successful :

Accidental Composition, June 27th 2017

I’m at the end of my packing , I receive the keys to the new studio tomorrow morning. Much more to do but very eager to get back to work, be it stitching, drawing or painting, perhaps a relief print of two as well.

Feeling rather festive and optimistic!

The Wodewose

I finished my latest figure last evening, what I had heretofore been calling simply a rag-doll, I am now calling a stuffed painting.

 He is called The Wodewose.

Greenmen (andGreenwomen), The Green Knight, Wildmen and the archaic form, the Wodewose, fascinate me. They are at once pure of heart and spirit yet unbridled, carnal, the embodiment of our bestial selves. No wonder they appear so frequently in medieval marginalia; amidst sacred texts, randy hairy beastie-folk cavort and beguile.

I’ve turned to the theme multiple times. After reading Simon Armitage’s excellent  translation of “Sir Gawain and the Green Knight” I was hooked on the theme, a wondrously fascinating archetype; ripe for seemingly endless re-interpretation.

The Green Knight
watercolor and pencil on paper

 

This latest work is in the round and I was able to more fully develop his fleshy-ness ( and hairy-ness thanks to some found faux fur).

The Wodewose
2017
Mixed media: recycled rag, acrylic paint, twigs, thread and poly-fill
Approx. 40 by 22 by 6 inches

I was inspired to employ the Wodewose-Wildman archetype because of the recent celebration of Beltane on May 1st. Rebirth, renewal, the “pagan” appreciation of unbridled spring. My figure has two ways of presenting himself in order to more fully keep in the step with the seasons.

The first being flacid Winter Dormant:

And the second, lively Spring Renewal:

“The Wodewose” will be part of my contribution to “Satan’s Ball”, a group show at Art Share LA that promises to be an:

“unapologetic embrace of the dangers, demons, burdens and temptations that beckon to the more sinful angels of our nature”.

 I would replace “natural” for “sinful”.

a link to ArtShare:

http://artsharela.org

I’m going to close with a few random images of Wildfolk that never fail to delight me. As I leave for Pittsburgh tomorrow and rain is supposed to be in order, I’m looking forward to a wild rush of greenery (and perhaps a few fauns).

Of heaven and hell and somewhere in between

 

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I recently finished a painting Hadesville which I think might be my best painting thus far. I am not being immodest but the act of painting it was a joy and I believe the painting conveys that fact. The fact that friends, fellow artists, that I admire and respect were positive about the painting was very encouraging. I will make a separate post of the painting in the near future, but for now I have thoughts I need to process.

Recently a friend described my work as devilish, which made me chuckle a bit.  One can be forgiven thinking that by many of my paintings and much of my work in general. But I see my horned figures as primal beings, not solely associated with darkness and vice. I instead see them as a joyous  (if fiery) contrast to the sanctimonious displays of the self-appointed righteousness that has surrounded me for much of my life. I’ve been thinking quite a bit about devils and angels and I’m guessing it is affecting my work.

There seems to be, in this election season , quite a few devils posing as angels. Bill Maher’s recent conversation with Kellyanne Conway, Trump’s campaign manager,  left me questioning who is on the side of darkness and who on the side of light : the potty mouthed liberal or the smug blonde who can’t besmirch her reputation with salty language yet can easily tolerate policies that will decimate civil rights to non-blonde, non-straight, non-Christian Americans.

I couldn’t help to be reminded of the glittering and duplicitous Antichrist, posing as virtuous yet possessing a craven soul as the pretty  Ms.Conway flitted and flirted her way through her conversation with Maher. I was left infuriated by how convincing and how appealing she may seem to a great many folks. From my perspective, risking hyperbole, the Antichrist is amongst us.

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Much of my work lately has been confronting the oppressive restrictions of the religious right, thus far Fundamentalist Christians but frankly anyway who adheres too closely and too literally to the Abrahamic traditions. In this morning paper, there was an article ( link below) concerning a literalist Christian couple feeling “outnumbered, isolated and unpopular” as our nation moves forward to towards progressive and secular ideals ; my response was boohoo and “welcome to the club”. These feelings of despair that they are now experiencing for the first time, feelings which have personally led me to innumerable dark days and suicidal moments in my youth and which in fact have led many queer kin (many so very young) to take their own life, leaves me with little sympathy for these so called Christians.

Let them have their heaven, I’ll take hell.

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This sense of the conflict between the so called diabolical and the celestial has even entered my dreams. I awoke today, in the wee hours of the morning, to record this dream:

I encountered  Lucifer and he ran a sordid, understocked bodega in the vast basement of a 19th c. building. The place was dank, damp and ill lit. There was very little merchandise and what he did offer was meant to appeal to the youngsters of the neighborhood , sugary soft drinks and prepackaged junk food. If the boys, for they were all boys, were lucky, they escaped with a bag of Doritos, but more often than not Lucifer pinched their cheek leaving behind a sharp triangular scar, a  Devil’s Mark. Some were so unlucky in their quest for a quick snack that they lost their eternal soul.

I did not interest Lucifer, for I was not some dimwitted boy but in fact an angel. more specifically an Avenging Angel. I didn’t immediately see Lucifer when I descended to his lair; the sordid shop was desolate, the  half empty shelves reflecting the dim light of the grimy basement window shafts, all was gray and ambiguous . I found a crackling flickering light emanating from a washroom and there , through the cracked open door,  stood Lucifer hunched over a scrub sink.  He was a stooped middle aged man, thin and balding as ashen as his bodega but from his ankles, thin as reeds , flames could be seen coursing through the sinew. I was witnessing the sulphur of depravity. His fiery emptiness coursing through his lower limbs. A few young boys descended  seeking their salty sweet empty calories, I tried to shoo them away, one heeded my warning but the other, stubbornly intent upon his tawdry treat, barely escaped Lucifer’s pinching embrace. As the terrified boy rushed up the flight of stairs the bloody “v” of the Devil’s Mark was plainly visible.  I approached Lucifer, and as if on cue we simultaneously spoke the same lines : “You are (I am) Lucifer, damned for eternity”. I turned to my unidentified companion , pleased and eager to display my pride in predicting what Lucifer would say.  Even Avenging Angels suffer from pride.

From that point on it became clear that these were pre-scripted lines and that we were in fact actors in some Mystery Play. We each had our role and we were playing them admirably.  With this new understanding Lucifer and the Avenging Angel ascended to street level, to a well lit shop, a typical 1930’s sort of place, all plate glass and checkered linoleum floors, perfect for a barber shop. I grabbed Lucifer by the shoulder, embracing him and declaring “this is what Good feels like , do you like it?” , as he recoiled from my “goodness” , an archetypal flag waving-Scripture quoting-gun loving  couple saunters into this empty shop.  Devilishly , just to tweak them , I faux-bugger him from behind ,   this time declaring “this is what Evil is, do you like it?”

He did and we fell onto a pile of Turkish rugs  giggling as they skedaddled out of Sodom and Gomorrah as fast as they could.”

I’m working now on a Hellmouth costume, all made of cardboard . A walking marionette/Mystery Play pageant wagon. I think, if I may be immodest, that it is going to be super. I will post the finished work upon completion but for now this image of the work in progress with my decidedly angelic dog Speck.

14440768_10210181421401592_1519083514061968665_nSpeaking of Hell and Hellmouths my mixed media assemblage Daisy’s Reliquary  (made for the unexpected death of my beloved pug Daisy several years back) will be part of a Dia de Los Muertos exhibition at Ave. 50 Studio here in LA, I’m very pleased and honored to have been asked to participate . Info concerning the October 8th opening follows, sadly I have two openings in northern California the same weekend and will not be able to attend. The link is : http://avenue50studio.org/upcoming-events-3#honoring-our-ancestors

1 Daisy’s Reliquary

Until next time .“Shanti! Shanti! you must not let anger possess you like that.””

Tenochtitlan Toyland

This is one of two proposals I recently submitted for a solo show… boney fingers crossed. The first, The Thinking Reed is pretty much ready to hang; this one resides mostly within my head and deals primarily with perception and the problems that arise from appropriation and misappropriation.

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Tenochtitlan Toyland: Playthings from New Spain

My proposal for “Tenochtitlan Toyland: Playthings from New Spain” is a theatrical concept room, an installation piece that essentially represents a nursery from hell. My concept which employs painted and constructed assemblages, cardboard and papier-mâché figures, marionettes and paintings on paper also incorporate an interactive element in which to engage the gallery viewer.

The nursery in question is that of the Infanta Margaret decorated with imagined booty from New Spain. By utilizing commonly found construction materials, I wish to poke fun at consumerism and the incessant quest for novelty.  To achieve this end I plan to make a plywood Selfie Booth, fashion a series of cardboard jumping wall puppets , even introduce a live performer encased in a walking puppet of my making. There is also a faux didactic element to this installation; I’ve painted a series of watercolor illustrations for an alphabet primer of New Spain that completely misses the mark in comprehending these vanquished people. From encouraging the use of hashtags for my proposed Selfie-booth, to passing out crayons in which to color pastiches of Baroque wall hangings, I wish to engage the viewer, reflect the past and hold up a mirror to the foibles and vanities of our current society.

My work is always narrative based and whether expressed through two dimensional or three dimensional works, I seek to tell universal stories and explore universal truths. With this installation I wish to employ every weapon in the arsenal. Paintings, sculpture and interactive engagement are part of my concept; I wish to create a sense of Gesamtkunstwerk, but instead of a Wagnerian Valhalla, I instead wish to create a dark and funny depiction of our seemingly unquenchable thirst for power and privilege.
Much of this work is still in the conceptual stage, so I have provided preparatory drawings to illustrate my intentions. I have also, when available, enclosed images of completed elements such as marionettes, paper dolls and pages from the aforementioned Primer of New Spain. I have also enclosed an itemized page providing details concerning my concepts and anticipated materials for the elements which make up the whole of Tenochtitlan Toyland; they are numbered to correspond with the images. Concerning which gallery I would prefer I have submitted a scaled rendering of the show situated in the W Gallery; of course that decision is up to the gallery. Given that much of the work is site specific I would appreciate, if I were fortunate enough to be selected, a later date in 2017 for the opening. Given my themes of consumerism and toys, a slot close to Christmas would be devilishly delightful!

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An Itemized List Concerning Tenochtitlan Toyland: Playthings from New Spain

1- “The Rape of Tenochtitlan”, 2016, colored pencil on paper, 18 by 24”.
The initial impetus behind this concept.

2- Pages from my alphabetic primer The Primer of New Spain ; letters A, B, C and D shown. The entire alphabet will represented .
Materials: watercolor on paper.

3- My marionettes of the Hero Twins. These marionettes are part of a body of work that includes other puppets and doll derived from the Popol vuh, that will be incorporated into the concept as a whole.
Materials: Sculpey modeling medium, armature, paint.

4-Part of a collection of paper dolls that I have been working on over the last few years. Some of the dolls are nearly life-sized, some conventionally sized.
Materials: watercolor, graphite, on paper, brads.

5- The Coatlicue Selfie Booth , given that Aztec goddess Coatlicue (and her war god son Huitzilipochtli) is quite a fearsome presence, she is an amusing choice for a selfie cutout . I would actively encourage the hashtag #teotoyland while visitors snap away; both ridiculing social media and exploiting it.
Anticipated materials: self supporting painted plywood cutout.

6- My proposal includes four “jumping jacks”, childish amusements of the Victorians, the difference being, as is the case with this depiction of the rain god Tlaloc,my offerings would be considered inappropriate for the nursery by most sane people. I imagine including three other Aztec gods including the aforementioned war-god Huitzilipochtli. Each will be placed behind a baroque inspired “tapestry”, that with crayons provided near by, I would hope gallery visitors would color in. I imagine an interactive experience, as with the selfie booth.
Anticipated materials: paint, cardboard, string, brads; tapestries, enlarged renderings with crayons provided.

7-The Templo Major, the heart of Tenochtitlan, home to the primary altars of Tlaloc and Huitzilipochtli , scene of countless human sacrifices and terrible battles , could not be a more inappropriate inspiration for a dollhouse; yet I propose just that concept . The installation would include rag dolls of gods, priests and their unfortunate victims. I anticipate quite a few hearts.
Anticipated materials: Painted wood and or papier-mâché construction, lightbulbs, mixed media as yet undetermined.

8- One of the aforementioned rag dolls, in this case, Huitziliopochtli.
Materials: rags, thread, paint.

9- A Meso-american television complete with vignettes from the creation myth , the Popol vuh. It would include the aforementioned marionettes.
Anticipated materials: painted wood and or papier-mâché , lightbulb , mixed media elements as of yet undetermined.

10-A prototype of #9, the Meso-american television.
Materials: painted wood, mixed media.

11- Mictlantecuhtli (Lord of Xibalba) parade marionette. A walking interactive puppet depicting the major god of the underworld . Once again introducing an absurd interactive element into the nursery concept. I hope the performer to be most fetching.
Anticipated materials: chicken wire armature, papier-mache, dowels, string, wire, paint.

12- Schematic of my proposal within the Wubdemann Gallery; drawn 1/4” scale.

 1-Rape of Tenochtitlan
1-Rape of Tenochtitlan
2-detail from Primer of New Spain
2-detail from Primer of New Spain
3-Hero Twin marionettes
3-Hero Twin marionettes
4-Paper-dolls from Xibalba
4-Paper-dolls from Xibalba
5-Selfie Booth
5-Selfie Booth
6- Tlaloc Tapestry design
6- Tlaloc Tapestry design
7-Welcome to the Xibalba Dollhouse
7-Welcome to the Xibalba Dollhouse
8-Huitzilipochtcli Rag-doll
8-Huitzilipochtcli Rag-doll
9-Xibalba Variety Hour
9-Xibalba Variety Hour
10-prototype example
10-prototype example
11-Walking Puppet
11-Walking Puppet
12-Installation Schematic
12-Installation Schematic

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Well, that’s it. I’m not sure which worries me more, being rejected or actually having this proposal accepted and going mad putting it all together! Wish me well please.

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