Rosendo Pinacho creates a mural in Hallandale, Florida
Oaxacan painter Rosendo Pinacho is creating two murals for the Optimum Adventure Building designed by Ariel Bromberg in Hallandale, Florida. The murals have been planned with the dimensions of 3 x 5 m. and 6 x 6 m. The technique is high-temperature ceramic, which will be manufactured in Claudio Geronimo's "Cinnamon Workshop" in San Agustin, Oaxaca. The study for the structural support of the work and the photographic registry are the responsibility of Farid Cruz, an architect, and will also be done in the same workshop.
This is the artist's second mural. The first is in San Pablo Macuiltianguis in the Sierra Norte of Oaxaca. That was a work which he carried out in collaboration with the municipal authorities. They provided the materials, and he provided his creative work. It was all done to benefit the community.
Rosendo Pinacho (1972) is a native of Candelaria Loxicha, Pochutla, Oax. In 1989 he began his studies in the School of Fine Arts of the Autonomous Benito Juarez University of Oaxaca, where he also began his career as a plastic artist.
Regarding the themes for the murals in the Optimum Adventure Building, the artist says:
Florida and its swamps has a certain similarity with some parts of Oaxaca, and especially with the Oaxacan Coastal Region where I was born and enjoyed the first years of my life. The vegetation, the mangroves, the rivers and the ocean are elements that I know and try to reflect in my work. That is why I don't believe that my murals will leave Floridians indifferent. The colors and the environments are very similar, and that will make the murals pleasing to them.
In addition, I don't want them to just feel empathy for my work, but also to discover elements of Mexican culture in general, and more than anything else, Oaxacan culture. I have already made the first drawings for the murals, and in them I try to show a little of Zapotec cosmogony, something of other beliefs and even some specific vegetation. You see, for Meso-American cultures, the ceiba tree, for example, has important symbolic meanings linked to their vision of the world.
On actually creating a mural:
In Mexico, there is a great muralist tradition, starting with the masters Diego Rivera, Jose Clemente, Orozco and David Alfaro Siquieros, and then, of course, with Oaxacan Rufino Tamayo who created murals for the Headquarters of the United Nations in New York and the Headquarters of UNESCO in Paris, as well as the National Museum of Anthropology and the Fine Arts Palace in Mexico City. For that reason, I want to make my own entry into the form, which is something of a challenge due to the dimensions. It's a new experience for me, and besides, doing it outside of the country is a great experience.
Just like the mural I created in Macuiltianguis, I hope the proposed murals in Hallandale will be attractive to the public.
Mexican art outside of Mexican territory:
It's difficult to get out of the country to show your work. There are a thousand things that impede doing it as an individual: bureaucratic red tape, insurance payments, taxes, the null support of official institutions to promote your work in foreign galleries and museums...even though we know that Mexican art is appreciated and sells at competitive prices. Generally, all of the artists who manage to cross the Mexican borders and show their work in other latitudes have done so as an individual project.
Plastic arts in Oaxaca:
Oaxaca has a very important plastic tradition thanks to the teachers who have had outstanding success in national and international environments. They have left a high mark for future generations to emulate.
There are some new proposals that are very interesting. On the other hand, it's also known that if the preparation is not constant, Oaxacan art can stagnate. The studio and experience have to go hand in hand. Research into our work is a priority in order to get closer to new artistic experiences.
And, as for the work of Rosendo Pinacho:
Through my work I'd like people to learn about our culture. That's why I try to show my own time and my ancestor's time, their colors, their environments. Art is a way to perpetuate our ways of life throughout time and share them beyond our own local microcosm. Now, of course, through technological innovations such as Internet, it's possible to share them even more. Creating a work outside our country is creating a work as part of a globalized world.
In both individual and collective exhibitions, his works have been shown in different parts of Mexico as well as abroad: "Dualities," Indigo Gallery, Valle de Bravo, State of Mexico; "Third Seminar of the Arts," University of the Arts, Cuzco, Peru; "Collecting Latin American Art," Mexic-Arte Museum, Austin, Texas, USA; "High Lights," The National Arts Club, New York, USA; "The Colors of My Land," The Museum of Oaxacan Painters, Oaxaca; "The Powerful Solidarity of Awareness," Lamm House Cultural Center, Mexico City; "Art in Nuevo Leon III," Monterrey, N.L.; "Curriculum Vitae," Artoz-Factory Gallery, Nuremberg, Germany; "First International Johnnie Walker Arts Encounter," Museum of Modern Art, Mexico City; "First Salon of Oaxacan Plastic Arts," the Mining Palace, Mexico City; Los Mexicanos Gallery, Hamburg, Germany; "Collective Exhibition of Oaxacan Artists," Women's College of Fine Arts, Tokyo, Japan and "Collective Exhibition of Oaxacan Artists," University of Fine Arts, Nagoya, Japan.
Original article in Spanish: Jesus Rito Garcia
Translation to English: Mtro. Robert A. Fredericks S.