Rafael Uriegas

Oaxaca, Hotel Pug Seal. This project covers the two floors of the central courtyard of a historic building located in the center of Oaxaca, covering 570 square meters of fresco painting. The work is an enveloping journey where a non-linear narrative is constructed, of epic cut, where the earth and the mother are the main characters, generating moments like, daughter, mother, father, old woman, seed, childbirth, uterus, water, earth, fertilization, among other elements that symbolize life.

At the moment I know that these works derive from the experience in the murals of Oaxaca.

This body of work is an ongoing investigation into light and the color blue. Being not only a modern color but a very particular one, that it is in a way apart from the rest, it is as if it had to be handled separately from the rest in order to understand something of it. There is a certain hologrammatic nature and a projection of sky and sea that abounds in our environment, there are a lot of weird things there. I think it's a tone that we're just getting, one that makes us feel innocent, because we are barely seeing it, knowing as pigment, and as light is an ambiguous projection.

Pink cave focuses on the light-earth relationship. Motherhood focuses on the light-to-earth relationship. Maternity, baby-mother, pink as blood, earth, candor, love, shelter, temperate, loving. For me this color carries those ingredients light, blood and earth. It’s vibrations are particular, slow harmony calm, but at the same time aggressive, the way in which the industry uses that violent tone mainly the idea of femininity, and it passes from one side to the other, from maternal candor to squealing and crystallizing sugar. In these works I leave aside the violence of industrial pink and focus on more tender qualities, trying not to enter the field of prejudices that border and intimidate a color.

He is an artist who emerged in 2018 in the city of Cholula, the idea of painting in the third person arises from the coincidences between the work of Sebastián Hidalgo and mine, and aims to dissociate itself from authorship, and other creative traps that pictorial practice poses on its way.

The exercise is playful, intuitive, out of speeches, creating a space of possibilities in favor of the work itself, letting chance, matter and imagination happen.

Akira is in essence an independent spirit, when we work it is as if it possesses us.

The series shows the behavior of flashes when they pass through a drop of water, a rainbow becomes visible and the seed is the result of reflection and light within the prism. In the encounter the color germinates, a violet that goes to the outside in effects of a sky. Erosion on land announces the formations carved by the wind, an open space where a beginning is created, the union of mountain, sun and time.

Each canvas, is influenced by the immediate sensory environment, the painting thought as energy seeks color from the thermal idea. The humidity and heat of the environment defines the strident palette, which is enveloped by dense and leafy organic forms. A place where vegetation abounds, sunlight tries to cross tangles and wooded land to reach the land, but never manages to touch.

This series starts from an automatic drawing that is repeated in different ways and from a color saturation that looks for grays. The popped grain, the fouling of the palette, is a search for the ethereal or diffuse, a chase of chaos that as the only grip has the same drawing, one who intended nothing, who has no definite motive or form, only such a map can guide me in this nothingness, a kind of repetition of a meaningless word.

Referring to the color palette of American Fauvism, this series is influenced by Dr. Alt, part of a travelogue that records the exotic environments of the Mexican beaches. The saturation of the mangroves in contrast to the solitary raft is a composition that Uriegas returns back to different formats where he generates an assembly line, framing variations of color.