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cheapbag214s
Wysłany: Pon 14:51, 12 Sie 2013
Temat postu: Art from the heart-spun2 Nike Blazer shne
Art in the heart,
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Artist gets emotional talking about his family, particularly his father,
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, who died about five years ago; he chokes up sharing the story of a woman who thanked him for teaching her "something good" following a wreath-making class in a housing project; and he gets teary-eyed discussing the inspiration behind "Ancient Guardians from the Sky," a site-specific installation and new painting series currently at Arts.
"But, you know, they're tears of joy,
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," Zamora Casas says. "They're not tears of sadness. They're tears of gratification and fulfillment."
For a long period, Zamora Casas would not have cried so easily or without embarrassment.
He recalls a conversation he'd by having an older, closeted friend. A teen,
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, he watched because the man broke down while reminiscing in regards to a former lover. At the time, he took his friend's tears as a manifestation of weakness.
"This man was why I swore to myself that I would never cry," he says. "And if I did, I wouldn't let anybody see me."
Zamora Casas has been noted for years as one of the more terrible of the art scene's enfants terrible a provocateur in red lipstick along with a waxed Dali-style mustache apt to show up at openings dressed in a priest's cassock or perhaps a full Mexican skirt buoyed by petticoats. He's still that. At 50, however, the openly gay Chicano artist and activist has achieved a certain grace.
"I really feel like I have cultural currency, and a history,
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," he says. "I visited the college of hard ? knocks, of chingasos. There's wisdom in age. There is a dicho: el diablo sabe mas por viejo de que por diablo. (The devil knows more from being old than from being the devil.)"
Much of what Zamora Casas has learned about love, sex, family and spirituality is woven in to the installation at Bihl Haus,
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, a work that's by turns romantic and confrontational.
The entrance to "The Chapel of Love" a set up inside the installation about marriage and commitment is marked with yellow caution tape. In the opening reception,
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, gallery volunteers warned people to keep kids out. Inside, the primary focus is really a vintage lace wedding dress suspended in a tiny alcove. On the ground below, a pair of men's wingtip shoes bracket a pair of white leather baby shoes. All of the pieces belonged to Zamora Casas' members of the family the dress was his mother's; the men's shoes were his father's; and also the baby shoes were his nephew's. The touching montage is juxtaposed with black-and-white photographs of sexually aroused nude men.
"I have no idea if I'm for gay marriage as heterosexual marriage is,
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," says Zamora Casas, who prefers the word "double-spirited,
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," instead of gay,
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, to describe his sexuality. "I just think that the spiritual union is much more than the usual piece of paper, and I think it's valid whether it's man on woman; or woman on woman; or man on man. Therefore it is concerning the yearning to have an ally in everyday life; to possess a spiritual union along with a partner that isn't just a sexual partner, but somebody that's taking care of you."
The nude photographs aren't intended to shock, Zamora Casas says.
"I think it's important to be truthful. Which is honest. That's my entire life," he says. "This is exactly what do they refer to it as? love that dare not speak its name.' And I'm speaking its name as love; as real love."
At Bihl Haus, Zamora Casas says he wanted to create a "magical space." Fractured light from the disco ball bounces off the walls in the darkened gallery. Rose petals are scattered round the periphery. Aromatic stargazer lilies and birds of paradise decorate a set of altars, and textiles including lush velvet and gauzy tulle cascade on the walls.
The title of the piece comes from his "belief that there are more to religion and life than we know" he admits that. "Or maybe many people know but aren't telling. I do not doubt anything,
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. Anything is possible,
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Canvas works by the self-taught artist, who paints in a folk art style, are located throughout the installation.
"Myth Becomes Legend/La Vicki" was inspired by a piece written by playwright about Josefa "Chipita" Rodriguez. The Mexican American woman was accused of murdering a white man and hanged in Texas in 1863,
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.
Within the piece, Rodriguez dangles from a red, white and blue noose, wearing an orange dress that blooms right into a flower.
"I cried the most with this particular painting than I've ever cried before," Zamora Casas says. "It's like when Chipita died, who did she leave behind? Who loved her?"
"Madre Inmigrante" ("Immigrant Mother"), a painting Zamora Casas describes as a "protest piece," combines the imagery and iconography of the Virgen de Guadalupe and the Aztec goddess Coatlicue. In the piece, a Madonna figure hovers above. A row of magueys bloom on the earth below. Mounted on a wall above an altar,
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