To me, art is not limited to one medium, or one timeframe. Art is a constant dance of the soul, and one canvas is not enough to showcase this.
I strive to continuously learn new ways to unleash my creativity. Literature, music, digital art, even cooking – are simply different languages to express myself. For this reason, I often attempt to incorporate more elements and media in my gallery exhibits, such as a video presentation, or an accompanying novel (such as in my 1994 exhibit “Nobody Goes To Heaven”) that will allow viewers to experience the art on more levels.
In my latest collection “Geometry Games,” I deconstructed famous art – Frida Kahlo’s “Two Fridas,” Rembrandt’s “The Anatomy Lesson of Dr. Nicolaes Tulp” and Van Gogh’s “Self-Portrait with a Bandaged Ear” – and injected my own geometric grammar, allowing viewers to enjoy these long-familiar masterpieces with a whole new set of eyes.
In art school, geometry was the very first lesson I had to take. I was made to draw basic shapes first – a line, a square, an oval – and only after was I allowed to connect them to draw a chair. It was a linear process, and I grew tired of it. Rebelling against my instructor, I would often draw the actual chair first, and then fill in the shapes after.
This reverse process is what I’m bringing back decades later through “Geometry Games.” Instead of constructing the final painting from a basic structure, I’m searching for and then reinterpreting the basic structure in famous paintings. In truth, all great paintings in History started with basic shapes and deliberate patterns, such as the Fibonacci spiral common in Renaissance art. My job in this collection is to discover those hidden structures, and then inject my own.
I think my painting technique is connected with emotion, and I try to adjust depending on what is required by the collection. For “Geometry Games,” the gestures have been more delicate, and I relied on the articulation of my fingertips. This is a departure from “Cyber Painting,” my previous collection which consisted of formats as large as 2 meters wide. For that, the emotion and energy is completely different – I painted standing up, and I use the articulation of my entire arm. The paint application is quite thick as well. Some pieces in that collection are 15 kilos heavy – like a sculpture.
In both collections, I liked to make accents with my brush in the Impressionist style, although in the past, I have also done action painting in the style of Jackson Pollock. In all cases, you can see in the stroke, the weight, the texture, the color, and the emotion of the artist at the time the painting was made – an experience missing in digital art. A brush stroke is the ghost of an artist’s soul.
Jorge Santana’s paintings have been featured in numerous art galleries and national Museums such as the Diego Rivera Museum, the Jardin Borda Museum and the Pemex Foundation. His poetry also has been awarded prestigious national prizes in Mexico.
National Prizes of Poetry
2001: National prize of literature Salvador Gallardo, Poetry section, 1st place.
1996: National university prize of poetry, UNAM, 2nd place.
Selected Solo Exhibitions
2018: Crisanta, Mexico City, Mexico: Cyber Painting
2016: Diego Rivera Museum, Mexico City, Mexico: Horizonte Ritual
National University of Pedagogy, Mexico City, Mexico: Náufrago de agua potable
2005: Franz Mayer Museum: Cien Años Cien Sillas
Jardín Borda Museum, Cuernavaca, Mexico: Escombros del paraíso
1999: Zalorén Gallery, Mexico City, Mexico: Desasosiego
1998: Rébsamen Gallery, Mexico City Mexico: Ayer del aire
1995: SEP, Mexico City, Mexico: Como Sombras Vagabundas
1994: PEMEX Foundation, Mexico City, Mexico: El Esplendor del Sueño
IMER Foundation, Mexico City, Mexico: Ya Nadie se Va al Cielo
1991: National Autonomous University of Mexico (UNAM), Mexico City, Mexico
1992: Tlalpan Cultural Center, Mexico City, Mexico: Ecos del Silencio
1991: Cultural Center Carlos Pellicer, Mexico City, Mexico: Luna de Viento
1990: Gandhi Cultural Center, Mexico City, Mexico: Color Despierto
Ya nadie se va al cielo (1994) Cutural Institute of Aguascalientes, Aguascalientes, Mexico, ISBN: 9701870212
BODY OF WORK
MEDIA ABOUT THE ARTIST