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The Neo-Mudéjar series constitutes an on-going examination of the formal and conceptual elements associated with Western and Oriental art forms.  I call this series “Neo-Mudéjar” to echo the term “Mudéjar” used in Spain to refer to the Moors of present-day Southern Spain, who remained in Spanish  territory after the 15th-Century Reconquista.  The daily contact of both cultures in Spain for more than seven centuries, is still visible in architectural elements present in churches and public buildings, both in Spain and in Latin America. The “new”/ “neo” aspects of these geometries point out to the multicultural nature of these paintings, which unite Oriental, North African, Spanish, and Latin American visual elements.

Built with acrylic and mixed media on canvas and paper, the images play with broken and irregular symmetries.  The works freely quote the work of artists such as Barnett Newmann, Franz Kline, Brice Marden’s panels and glyphs, and Jasper Johns’ and Terry Winters’ crosshatches.  In a less obvious manner, the images are related to the “spatial concepts” of the Italian artists Lucio Fontana, Mario Sironi, and Giorgio Morandi.  Artist from Latin America such as Zdravko Ducmelic, Alfredo Hlito, and Joaquín Torres-García’s concept of structure, contributed to the images.

It is my hope that, besides their visual values, these works could provide visual clues for sustaining positive relationships among diverse peoples and visual cultures.