Angel Villanueva

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My dear friend and colleague Delaine Ureño, Development Coordinator for the dA Center for the Arts, asked me to answer a short yet complex set of questions regarding my work, life, and philosophy, in relation to the Center’s yearly Chicano art exhibition, which I am currently participating in. I would like to share this with you. I hope you will enjoy the stories in this brief tour of an eccentric man’s mind:

“dA: You’ve expressed to me before that you don’t really consider yourself to be a “Chicano Artist”. Can you please also speak to this a little bit?
I see you wield the key to Pandora’s box. This is a challenging issue to address, because both Chicano art history and my own history are complex documents in constant revision as our self-understanding matures and evolves. There are strong identifiers between my sensibilities and those of Chicano art, but also some radical divergences. My parents were illegal immigrants, farm laborers. I was born in a California barn…”

You can read the full interview on the dA’s blog at:

Interview: Angel Villanueva
http://thedacenterforthearts.wordpress.com/2011/11/07/interview-angel-villanueva/

I want to extend my heartfelt thanks to Delaine and the dA Center for the Arts for the opportunity to express my views, and for highlighting my work during this show.

Cheers,

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A detail of the first in a series of paintings about forces at play in the time before time.
The rest will follow shortly. I for one am excited.

Thank you for your continued presence,

~Angel Villanueva

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The term urban grit, like most labels, functions as a kind of cognitive shorthand, a free admission pass to the claim of understanding what it describes. It has a faint ring of the inevitable, but it mostly conveys the notion of an evil that can be avoided through a careful routing of our experiences, should we be so fortunate.

The city resists this idea. From the loose debris unevenly coating the streets—a debris that includes human lives—to the steel and glass cages poised like great vessels in the sky, the city unfolds as a continuum, a tapestry with no clear edges. Urban grit as a realm is the result of a process, and it becomes integral to the world that cradles it. There will always be something occupying that space, and that something will always escape the boundaries of notion.

Like an interplanetary spacecraft, cutting across orbits, I traverse the city periodically and gather more data with each pass. Returning from each harvest, in the late hours of the night, I compare the readings in my memory with those captured by the lens. Rather than matching, they complement each other. A different picture emerges each time. It is like observing from the inside the ceaseless inner workings of a giant, undying organism, sprawled over the land. The city is far more than a structure: it is a living process… Its nature reveals the basic traits of the creatures that give rise to it and sustain it, and which it in turn sustains and consumes. The city is nature, in a different guise.

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I also find it useful to think of the city as a weather system. Here, currents meet and coalesce, sometimes becoming storms, sometimes merely dissipating in the night’s breeze. At any moment, a tenuous string may suggest itself between two entities, threading its way through the links between others.

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He’s following me, I think. Three blocks, four galleries, perusing some of the same artworks. Our eyes meet a few times. His are blue, intense or just cold I can’t say… No smile. Faces and voices around us become transparency and silence.

Strange alchemy.

I start to envision possible outcomes; including, why not, my lifeless remains in a body bag.

I recall a similar scenario, a lifetime ago it seems… It began in the desert , under a merciless sun, amidst a dense ocean of people. I think of that story and all that it meant.

I walk on.

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Today you get to visit me at work.

The work in question is a visual metaphor conveyed through simple elements: in a barren landscape, a lone organism (resembling a cactus flower) sprouts from hard-edged, geometric elements, and emits a cluster of messages into the night, which may or may not eventually be heard.

For paintings on wood, I make my own substrates. Here a solid, heavy 24″ x 48″ birch panel has been sealed, primed, and hand-sanded to a smooth eggshell finish, a process taking approximately one week of continuous work to complete in dry weather. Not visible here are the mounting provisions on the back; a steel cable held by hooks double-anchored directly into the wood. The edges and rear surface are painted black. Rubber feet are placed at each corner to prevent the hard edges of the wood from scraping the wall if the painting is to hang unframed.

On this board, a detailed graphite sketch (here barely visible) and the beginnings of an acrylic underpainting are laid out.

The acrylic underpainting solidifies the location and volumetric character of the composition’s elements and provides a color field to begin building the sky on. When the acrylic layers are dry, the oil layers follow.

Depth in the dark blue sky is achieved by applying consecutive translucent layers composed of a 50/50 mixture of Prussian Blue and Ivory Black, thinned with orange rind spirits and poppyseed oil, and progressing towards transparency at the horizon line.

After several passes and their mandatory drying periods, the basic sky is arrived at.

A last, carefully blended translucent layer is applied to create the athmospheric gradient. The base color of the ground field has been applied as well. Note that the last layer covers the flower’s emissions, which is fine since their outlines are still perfectly visible through the translucent paint.

The acrylic shadows of the rocky ridge on which the dead tree/cactus flower is standing are deepened.

The star field is painted in, and right with it…

…the flower’s emissions, a cluster of shreds of silky material carried off into the night by the breeze.

The colors for the cactus flower are mixed on an oil-rubbed, plasticized masonite palette. The white surface of the palette helps test the color transparency before it is applied. For the flower petals and stem I am using premium grade, high-density pigments.

Work begins on the petals…

…and continues down the stem. The geometric elements at the base are rendered, followed by the rocky ledge. Finally, the ground field is darkened and texture added to it… and The Visionary comes to life, the product of endless hours spent with a 1/8″ flat brush in aching hand…

You will find a complete image of the finished work in the Paintings page.

Thank you for visiting me today, hope to see you at the show!

~A.V.