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René Treviño, Axial Precessions Essay

1049 words - 5 pages

René Treviño was born in 1972 in Kingsville, Texas and currently lives and works in Baltimore, Maryland. He received his Bachelor of Fine Arts from the School of Visual Arts in New York, as well as his Master in Fine Arts from the Maryland College of Art. He is currently represented by the C. Grimaldis Gallery in Baltimore, and had an exhibition from January 29, 2014-March 8, 2014 entitled Axial Precessions, hosted by the C. Grimaldis Gallery.
The C. Grimaldis Gallery has a bit of history standing behind it. It was established in 1977 by Consantine Grimaldis and is the longest operating art gallery in the Baltimore City area. The gallery hosts exhibitions featuring American and European ...view middle of the document...

Some even bring reference to Ancient Greek pottery, particularly what would be seen when looking inside. Taking them in as a whole, they’re a beautiful collection of color and pattern, and they are displayed perfectly as they should against the white wall. The mylar medium seamlessly blends with the space, allowing the whitespace to incorporate itself in to the designs. And at first glance, it’s hard to see that all of this was painted by hand.
Treviño created each piece of artwork displayed in the gallery on a piece of mylar, with a tiny brush and acrylic paint. Getting closer to the works shows the layering of the paint, and builds appreciation for the incredible amount of time that must have put in to the pieces. He had said that the combination of the mylar with the acrylic paint was almost perfect – the paint sits so well on the mylar, and the mylar could be painted on both sides with the colors coming through to see. Treviño in some cases would do certain colors on the front, layering them in, and do the same on the reverse side. So a piece with 5 colors could well have three colors layered on the front and two on the back.
Also included in the gallery exhibition were pieces that happened to not be round, but were still rather large and entirely hand done. For these, Treviño drew inspiration from toile fabric patterns. In his red Toile Study, Treviño had taken a section of the designed toile and created his own repeated pattern on the 42in by 80in piece of mylar. The imperfections in the repetition become an integral part of the composition, and added an item of interest to the overall piece – fabric is more malleable that paper or mylar, and so creating the repetition was imaginably rather difficult. The overlapping of the patterning also appeared in the yellow Toile Study, which was also slightly smaller lengthwise than the red.
Keeping in line with the heavy astrology influence in his work, his Constellations and Moon pieces fall directly in line. The...

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