|Cara and Cuarto, 36x24in, oil on canvas|
Saturday, October 30, 2010
Sunday, October 24, 2010
Wednesday, October 20, 2010
Root Division 9th Annual Art Auction.
Thursday, Oct 21
3175 17th Street (at South Van Ness)
San Francisco, CA 94110
Tuesday, October 19, 2010
Tuesday, October 12, 2010
Earlier this year, I started incorporating written text within the layers of my work. The paintings often start out with pours and drips, and I write with oil stick after the first couple layers. The words are both in English and Spanish and interchange from word to word and sentence to sentence. I grew up in a family environment where English was the primary language at home, but at large family gatherings Spanish was spoken. I have a limited ability to speak Spanish, and there are still some awkward moments with extended family members who don't speak English.
The words I write in the layers tell stories, label, and describe emotions related to the imagery in the painting. Switching languages, confronts the process of translation. By repeating the same word such as "Ojo, Eye" written over the eye of a portrait, I suggest that perspective can be filtered through language. The use of this kind of written narrative suggests my mixed identity, and the complexity of meaning in language.
|Detail from Ojo in Cuarto|
|Ojo in Cuarto, 48x36in, oil on canvas|
Monday, October 11, 2010
Saturday, October 9, 2010
Friday, October 8, 2010
Wednesday, October 6, 2010
Poets and Artists Magazine recently did an issue called "IN PURSUIT". I collaborated with Erika Moya. Below is a link to the publication and you can find our collaboration on pages 80-83.
Link to Poets and Artists Magazine "IN PURSUIT"
This is the painting I included and below is a small section from Moya's poem
"The streets are adopting silence this night
Arches below arches
a tailored vein
a name, a street
shell stiffens like a mask
beneath the skin, coins are placed"
Here is a link to more of Erika Moya's work.
Tuesday, October 5, 2010
|Cambio Self Retrato, 48x36in, oil on canvas by Daniel Ochoa|
Recently, I began incorporating pixel emulation in my work. This came about because I read The Post Modern Turn by Best and Kellner. The reading prompted me to question the formal qualities in my work. The realistic depiction of objects and abstract techniques are both identified with modern artists. I saw the pixel as a sign of the postmodern because it did not exist before the 1960's, which as the authors suggest is when the post modern turn began to take place.
When I was in high school in 1998, I took a photography class using 'real film' and learned how to develop the film with a chemical process. I used traditional cameras for about five more years and saw the transition to digital cameras. Now in 2010, almost all imagery in television, computer, and cameras use pixel technology to produce images. I use digital cameras exclusively and rely on digital software to view, edit and print the images I prepare for paintings. By incorporating the suggestion of pixels in my work, I am appropriating a product of technology that permeates our environment. In my work, I explore how to pluralize perspectives and the destruction of the hi-res or 'real looking' image to the pixel re-identifies the perception of the imagery.
The pixelated photo above is a reference I used for the painting "Cambio Self Retrato".
Monday, October 4, 2010
Sunday, October 3, 2010
Friday, October 1, 2010
New work at Hallway Gallery in Bellevue, Washington.
Brooklyn Extranjero, 18x14in, oil on canvas
Space in Cuarto, 36x24in, Oil on canvas