Gerar Drouot (Savannakahet, Laos 1948)
Gerard Druot worked along twnty-two years with S. W. Hayter (1901-1988) and currently he continues working in Conrepoint Studio, name assigned the studio 17 after the death of Hayter; hence, one of the closest artists to the 17 studio, and we will have an exposition in Alejandro Santiago´s Gallery which will be open on December 14th in Oaxaca City, in addition an exhibition of Hayter´s technique or roll-up, which consist on obtain a color engraved in one pass on the press with one plaque; this is achived through a pair of hard and soft rollers and taking into account the oil density in inks.
This demonstration will take place in the studios of Graphic Mark in coordination with Francisco Limón´s studio. The date will be probably between December 5th to 20th.
S. H. Hayter was born in the United Kingdom. In 1926 he settled in Paris where he founded his 17 studio, which became in one of the creative centers in XX century and one of the most active in the surrealistic movement where got gathered artists like Joan Miró, Alberto Giacommetti, Marx Ernest, Marc Shagal, etc.
With the arrival of the Second World War, he began a new stage in New York, where he settled his studio in the 40´s. In 1950 he returned to France and again takes up his Parisian studio, where finds artists like Corneille, Alleshinski, etc. and in which he works until his death.
She was born in 1978. Manuela Ferré starts his education since her fourteen years old in Italy in theArt Institute of Duccio Di Boninsegna of Siena, she enrolled in the school of arts from Carrara, famous city for its quarry marbles.
In 2011 she continues her education in engraved in the Superior School of Arts in Brussels.
Since 2014 she shares her life between Paris and The Toscana – Between the city and the filed- two atmospheres in where she finds the inspiration to make her sculptures.
In 2006 she takes up a work about memory beginning with her series Porteurs driving to the inner of resins masks- self-portraits, memories of her childhood like, flowers, photographs, draws, letters, etc. that get melt in one project, with the recalling tittle of Mnemonica, for which she shows especial affection. She will continue this project in the next years in the format of systems. At the same time, she produces an introspective work in which she mixes sculptures, engraves and litographies.
She uses, fundamentally lithography in order to make a series of draws that will complement with the consecrate sculpture to stoning, topic which make her feel sensitive and starts dealing with since 2002 with her sculpture, Saphya. Name of a young Nigerian woman sentenced to stoning and finally forgiven because of international community manifestations.
Always looking up for adaptation between the treated subjects and the bracket used, she has chosen the lithography to deal with the topic of stoning, in this case using the stone as a way to make listen the voice of the victims, ironically the stone is used in stoning as a weapon to torture and kill.
Emanuela has participated in several expositions since 1996 in Italy, France, Belgium and Japan. In 2005 she received the prize George Coulon given for the Arts School in France.
In this occasion the studio Francisco Limón presents seven litographies of Manuela Ferré made in Paris in the Studio Clot, Bramsen & Georges.
In the world of reflection on art in the field of aesthetic investigations, is peculiarly risky to separate the artwork from its author, draw a dividing line between the will of art itself, and the features that build the character character. It is even painful, finally, to approach the study of a piece of art from a purely metaphysical standpoint, and forget about hobbies and obsessions that usually compose the biography of an artist. In the case of Sabino Lopez Aquino and his works, such separation is idle for impossible. It is already proven. It is a matter of style.
We could say then that Sabino has returned to engrave through a long journey driven by his technical versatility, which remains an eternal nomad: the Isthmus to the Valley and back. And in the field of bohemia, still postgraduates are awarded.
We might add that recent pieces in the studio of Francisco Limón, through gritty textures and bold use of color, exhibit this intuition of the nature from the more pure Oaxacan art. And such intuition leads to the figures of this bestiary to the edge of a tropical expressionism.
But that is not enough. To explain the explosive and entertaining effect of these images, we must close the wound opened by life-work separation. To recover the original essence, what Walter Benjamin called the "aura" of the work, there is only one way forward: the concept of style as a way of understanding art practice. When the issue becomes personal. Beyond traditions and techniques, personalities adhere to the synergies of art, making them unmistakable. The styles will tell the history of art.
And Sabino López Aquino, what's left over is style. He is wearing it. This kind zoology shows us, in itself, the exuberant nature of the character.
When I knocked at the door of 10 of the Rue Didot, in the famous studio17 of S.W Hayter, I never imagined that I would be in charge of an engraving workshop; Of course, for this idea to come about, many things had to happen. First, obtaining the director´s assistant position and then the studio assistant, the learning the hard lessons of coexistence and demands of some artists, but also the moments of camaraderie and friendship that are part of group work. I spent some years with my friend Gérad Drouot dreaming how we would make a studio together, how it would be, and where. When I lived in Thailand, I started the project that would end in an unexpected way; and in spite of new possibilities to carry out the old project of an independent and professional studio in Bangkok, Oaxaca has given me a place to receive artists and work with them in the atmosphere of an independence. There was a term between these two memories, in which I made an incursion in metal sculptures, thanks to my friend Juan Luis Bañuel. With him I learned to share meals, work and we started to make graphics again in the Danish engraver Torben Bo Halbirk’s studio. I met another Danish person, with whom began a work and friendship that continuous until now, like the one I had glimpsed with my friend Gérard years ago. This another Danish were indeed two, Peter and Christian Bramsen. I arrived to the studio Clot Bramsen & Georges in a specially hard time in a personally, many things happened, I got divorced and I met my current wife, Laurence, I moved from my dear neighborhood XIV and I encountered the lithography, then we moved on to Thailand. We came back to Mexico, we settled in Oaxaca with a clear idea and with the experience of having worked abroad in diverse conditions; so that, immediately I accepted the proposal of Demián Flores to create a studio of graphics, the TAGA (Taller Gráfica Actual). Later with Alejandro and Lucio Santiago we created the Graphic MarK, and with Estebam Chapital a gallery – studio, in where the people who went ahead to the gallery could observe the printout of a stamp in situ. It was time to create my own space, after a year and a half ago (2012) of working with the artists I met here and with some others I met abroad, with young people attracted by cultural life of Oaxaca and teachers settled in Mexico since years.
Francisco Limón summer 2013, Oaxaca
Quique + Kimi
Santiago and Enrique Arrived to my studio like all my friends arrive, to look how we make engraves, to talk, and be present, little by little they became to scribble over or color some samples from another artists, to feel like doing some samples, monotypes, etc. And suddenly, we noticed that there was material for a sample. The last engraves are made fundamentally to sugar and aquatint.
It was a coincidence or not, but more or less they came at the same time, and the topics of their draws were related; all of this, joined to the idea of experience and the fact that the no artists people work perhaps with less prejudices at the time to create, but with more reticence at the time to show, because of that I suggested them the sample they are presenting and the one who makes me feel proud.
Radhamés Mejía has preserved and probably he will keep the aesthetic of styling the face through the mask. Permanent expression, but do not lack of expressivity and life, thanks to eyes and mouth. The main characters of this plastic pantomime look smile and yell...
A hand, better say, a glove, another mask, can reinforce the animation of the image.
The fascination that Radhamés Majía faces´ provokes, duplicatednot only in “Symbols and its doubles” but previously comes from the careful execution, the precise design, the colorful “fauve” applied to the contemporary things, to the crawling sensation of adjacent signs, if we think of paints and draws. The same "hipnosis" is repeated in the contemplation of the sculptures, for sure subscribed in the extended concept of the sculptural, needing to turn around in a kind of slow dance ritual of glaze.
Marianne de Tolentino Critic and Curator of art
Dark masks, red and yellow Cover up the weeping and laughs, Mask of pity, annoyances and happiness, Scaring the death, turning on life, Masks, carnival throwing goblins and bladders, In a breakwater of laughs, mockeries and smiles, Masks of paper parties in an irony, Which cover the faces in all its anatomy, Today, masks which shake The spell and maliciousness of the clever devil Mejía Delia Blanco Art Antropologist Masked poet woman