Ruiz-Healy Art: Quinceañera: San Antonio

November 18, 2021 - January 29, 2022
  • RUIZ-HEALY ART: QUINCEAÑERA

     

  • Ruiz-Healy Art is pleased to announce Ruiz-Healy Art: Quinceañera, an exhibition commemorating the fifteen-year anniversary of Ruiz-Healy Art in San Antonio, Texas. The exhibitionfeatures work by artists that have been significant to the gallery’s history: Pedro Diego Alvarado-Rivera, Jesse Amado, Richard Armendariz, Cecilia Biagini, Nate Cassie, Jennifer Ling Datchuk, Pedro Friedeberg, Graciela Iturbide, Nicolás Leiva, Leigh Anne Lester, Constance Lowe, César A. Martínez, Cecilia Paredes, Chuck Ramirez, Carlos Rosales-Silva, Mark Schlesinger, and Ethel Shipton. 

     

    Founded by Dr. Patricia Ruiz-Healy in 2006, Ruiz-Healy Art specializes in contemporary works of art with an emphasis on Latinx and Latin American artists, as well as working with prominent Texas-based artists. Throughout its fifteen-year history, Ruiz-Healy Art has produced numerous exhibition catalogues, and scholarly essays, contributing to the study of Latinx, Latin American, and Texas art history. The gallery has collaborated with writers, curators, and museums across the globe and has participated in prestigious national and international art fairs. In 2019 Ruiz-Healy Art opened a second location in New York City, allowing the gallery to exhibit its gallery artists in the art capital of the world. The success of Ruiz-Healy Art could not have been achieved without our amazing roster of artists, patrons, writers, curators, employees, and countless more. We are thrilled to be celebrating our Quinceañera in our home, and the city where it all began, San Antonio.

  • Pedro Diego Alvarado-Rivera
    Pedro Diego Alvarado-Rivera
    Vista del Río Loira, Francia, 1998
    Oil on linen
    34.5 x 54 in
    87.6 x 137.1 cm

    Pedro Diego Alvarado-Rivera

    Alvarado’s oeuvre focuses on still lifes that depict the limitless abundance of the Mexican natural world. Together with his sublime landscapes, Alvarado’s detailed natural studies offer a compelling new examination of Mexican artistic awareness. In the words of the artist: “I am a Mexican painter, not only by birth but also because I live and work here. The great Mexican painters… reflected this light, the biodiversity, the fruits, the men and their cultures in their creations…These are all very profound things and are a part of what it is to be Mexican.” - Pedro Diego Alvarado-Rivera.
  • Jesse Amado
    Jesse Amado
    I Am Not Your Mexican: Rhapsody in Blue, Gazing North Beyond the Broken Fence, 2021
    Le Corbusier acrylic, Chicharrón, felt, and Plexiglas on canvas
    39.8 x 39.8 in
    101.1 x 101.1 cm

    Jesse Amado

    Known for art that is conceptually based and highly formal, Jesse Amado’s work is imbued by the symbolic power of image-making and its formal or stylistic potentialities. His work is grounded in his Mexican American heritage, South Texas aesthetics and  conceptual practices that are anchored in social realities, history and politics. "Utilizing forms, images, materials, fashions, and media of human industries; I’m able to produce commentaries on the ambiguities of modern and contemporary culture and the investments that are ultimately made by society.” - Jesse Amado

  • Richard 'Ricky' Armendariz
    Richard "Ricky" Armendariz
    Sharpness of the air
    Snap of the branch below her
    Sound of my heart slows, 2021
    Carved oil painting on Birch plywood
    48 x 60 in
    121.9 x 152.4 cm

    Richard "Ricky" Armendariz

    Being raised on the U.S.-Mexico border heavily influences Richard “Ricky” Armendariz's artistic, aesthetic and conceptual ideas. Images that have cultural, biographical and art historical references are carved and burned into the surface of his paintings, drawings, and prints. “Growing up in El Paso, Texas with Juarez, Mexico in my backyard, I was saturated with a mix of romanticism for the new and old West, American culture, and the iconography of my ancestral past. I am influenced by the mystique of the border region, including mesas, honky-tonks and big skies reaching as far as the eye can see.” – Ricky Armendariz

  • Cecilia Biagini

    Inspired by traditions of Latin American abstraction, Cecilia Biagini makes paintings, mobiles, photograms and reliefs that flow seamlessly from medium to medium. Utilizing a bold sense of color, line, depth and abstraction, the varied works find commonalities in their composition and playfulness. Evoking ideas of physics, the geometric shapes in her work are arranged in a manner suggesting movement and animation. “Conjuring the ludic with pure geometry in space, my work at times refers and alludes to musical and rhythmic waves, pseudo-scientific models/diagrams and is always anchored in the purity of the medium itself.” – Cecilia Biagini

    • Cecilia Biagini Vapor, 2018 Acrylic on canvas 18 x 14 in 45.7 x 35.6 cm
      Cecilia Biagini
      Vapor, 2018
      Acrylic on canvas
      18 x 14 in
      45.7 x 35.6 cm
    • Cecilia Biagini Pin-pon, 2018 Acrylic on canvas 18 x 14 in 45.7 x 35.6 cm
      Cecilia Biagini
      Pin-pon, 2018
      Acrylic on canvas
      18 x 14 in
      45.7 x 35.6 cm
  • Nate Cassie
    Nate Cassie
    Armchair, 2021
    Ash wood, milk paint, and wax
    21 x 25 x 33 in
    53.3 x 63.5 x 83.8 cm

    Nate Cassie

    Nate Cassie’s work includes drawing, painting, sculpture, video and digital media. His thematic practice centers on what he terms “spaces in between,” the gaps that distance surface from volume, skin and structure, formal and intuitive systems. “It’s the place where a rub or a nudge occurs—the space in between layers, the space in between object and reflection, the space in between myself and others.” – Nate Cassie

  • Jennifer Ling Datchuk
    Jennifer Ling Datchuk
    Flawless (Big Butterflies), 2021
    Porcelain, gold and white pattern transfer from Jingdezhen, China, mirror plexiglass
    20 x 16 x 3 in
    50.8 x 40.6 x 7.6 cm

    Jennifer Ling Datchuk

    Stemming from personal experience, Datchuk explores her Asian heritage and specifically connects to Chinese blue-and-white porcelain traditions.“My work has always dealt with identity, with the sense of being in-between, an imposter, neither fully Chinese nor Caucasian. I have learned to live with the constant question about my appearance: ‘What are you?’ I change my response depending on my hair, make-up, clothes, what I am doing, where I am at, or what I am eating – who I am at the moment. I find people are rarely satisfied with my answer. I explore this conflict through my chosen media – porcelain, which nods to my Chinese heritage but also represents “pure” white – the white desire I find in both cultures. Bound by these conditions, I stitch together my individual nature, unravel the pressures of conformity, and forever experience pain in search of perfection.” – Jennifer Ling Datchuk.

  • Pedro Friedeberg

    Pedro Friedeberg  studied architecture at the Universidad Iberoamericana, México City, where he was profoundly influenced by Mathias Goeritz  (1915-1990) and his Bauhaus ways of teaching. Goeritz became a mentor, lifelong friend, collaborator, and champion of Friedeberg’s distinctive work. Although Friedeberg’s artworks are sometimes described as Surrealist or Fantastic Realist, they are not easily definable in terms of conventional categories. His works include paintings, sculpture, printmaking, installations, and constructed montages, where the surrealist space is populated with borrowed and personal symbols. “Who knows what one does or why? I think of my work as a pastiche. There’s a little bit of everything I like in there.” – Pedro Friedeberg.

  • Graciela Iturbide

    Graciela Iturbide’s work is a mixture of history, lyricism and portraiture. The subtle yet powerful photographs blend the essence of the cultures of her native Mexico with her own personal vision and love of poetry. Her photographs combine the story of a culture in transition with issues of identity, diversity, and selfhood. Iturbide has studied the indigenous society of Mexico in different states offering photos of sublime magic realism. Iturbide explores ways to articulate the “voice” of Mexico with an intricate interweaving of histories and practices. “My pictures are a sort of travel diary… As an artist you need to move on, you need to try new things… And in the end, photography for me is just an excuse to get to know the world.” – Graciela Iturbide

    • Graciela Iturbide Mujer ángel Desierto de Sonora, México, 1979 Silver Gelatin Print 16 x 20 in 40.6 x 50.8 cm
      Graciela Iturbide
      Mujer ángel Desierto de Sonora, México, 1979
      Silver Gelatin Print
      16 x 20 in
      40.6 x 50.8 cm
    • Graciela Iturbide Eyes to Fly With, Coyoacán, Mexico, 1991 Silver Gelatin Print 14 x 11 in 35.6 x 27.9 cm
      Graciela Iturbide
      Eyes to Fly With, Coyoacán, Mexico, 1991
      Silver Gelatin Print
      14 x 11 in
      35.6 x 27.9 cm
  • Nicolás Leiva
    Nicolás Leiva
    Constellation , 2017-2021
    Glazed Ceramic
    Dimensions Vary

    Nicolás Leiva

    Innovative in his use of ceramic and paint on unusual surfaces, Leiva works with a vocabulary of pure fantasy and cosmic inspiration. Bright colors and primal designs are the signature result of this artist’s expressionistic technique. Embedded in Leiva’s collection of forms and surface designs is a symbolic language that contains the narrative of an ethereal realm, but underlying his tales of paradise is a very real physical practice that is social, as well. In his paintings, drawings, and vessels, dwellings shift shape from boats, houses, to flying carriages in a flower-filled realm that seems to exist somewhere past the margins of a Mayan codex.

  • Leigh Anne Lester
    Leigh Anne Lester
    Blind Expansion #1, 2021
    Graphite, drafting film, acrylic paint, linen tape
    32 x 23.5 in
    81.2 x 59.7 cm

    Leigh Anne Lester

    Leigh Anne Lester’s work addresses the “place between the genesis of genetic modification and its aftereffects.” Her drawings are layers of semi-transparent drafting film with a historical botanical image drawn on each layer. The transparency of the drafting film allows the line of each botanical to optically blend with the next layer. Elements of each of the plants mix and tangle their visual attributes intermingling disparate species of flora. Floating cells are layered with graphite drawings of separate distorted offspring plants with their color drained, implying a cellular, morphological struggle for resolution.

  • Constance Lowe

    Lowe’s current mixed media works combine influences of her Midwestern farming heritage, landscape photography, and the legacy of geometric abstract painting with the physical presence of materials such as felt and leather. “I’ve always been interested in geometric abstraction, and in the physical and psychological aspects of materials. I’ve always looked for the reductive qualities in my work. These works are loosely based on the abstraction of farmland as seen from the air. It’s also based on the belief that abstraction can be meaningful on a variety of levels, sometimes in ways, we don’t always assume.” – Constance Lowe.

    • Constance Lowe Drift Threshold #1 (Falling Violet), 2021 Archival inkjet prints, wool, felt, and leather 26.5 x 23 .3 in 67.3 x 59.2 cm
      Constance Lowe
      Drift Threshold #1 (Falling Violet), 2021
      Archival inkjet prints, wool, felt, and leather
      26.5 x 23 .3 in
      67.3 x 59.2 cm
    • Constance Lowe Drift Threshold #2 (Gold Hem With Salt), 2021 Archival inkjet prints, wool, felt, and leather 26.5 x 23 .3 in 67.3 x 59.2 cm
      Constance Lowe
      Drift Threshold #2 (Gold Hem With Salt), 2021
      Archival inkjet prints, wool, felt, and leather
      26.5 x 23 .3 in
      67.3 x 59.2 cm
  • César A. Martínez
    César A. Martínez
    Bato Con Sunglasses, 2021
    Acrylic on muslin
    54 x 36 in
    137.2 x 91.4 cm

    César A. Martínez

    A major figure in the Chicano Art Movement of the late 1970s and 1980s, Martínez’s portraits are icons of Mexican American art history. Deeply rooted in his native South Texas and its Mexican American culture, Martínez’s work reflects a broad knowledge of the western art canon and finds inspiration from color-field paintings, Mexican architecture, and photography. Martínez is drawn to the way in which Mexican American family photographs served as intimate, personal portraits, during a time when only white individuals or groups were being iconized in paintings. Martínez offsets his melancholic subjects against a vibrant palette of clothes in tension against abstract backgrounds. The individuals in Martínez’s works are merely hybrids derived and elaborated from many different photographs found in high school yearbooks, obituaries, newspapers, and other public sources. Martínez explains “The idea of a very frontal, and very emotionless, almost expressionless face just staring at you, came from Richard Avedon’s work.” 

  • Cecilia Paredes
    Cecilia Paredes
    Hermitage I, 2017
    Photo performance inkjet print
    52 x 34 in
    132.1 x 86.4 cm
    Edition of 7 plus 3 artist's proofs

    Cecilia Paredes

    Cecilia Paredes combines themes found in nature- origins, camouflage, transformation, and her body- to acquire multiple identities through a blend of sculptural recreations and photography. Each element in her body of work reminds the viewer of the fact that humans are but one element in nature, of which the body is a pristine expression. “I wrap, cover or paint my body with the same pattern of the material and represent myself as part of that landscape. Through this act, I am working on the theme of building my own identification with the entourage or part of the world where I live or where I feel I can call home.” – Cecilia Paredes.

  • Chuck Ramirez

     Ramirez was a major force in the San Antonio art community before his untimely death in a 2010 cycling accident. A 2002 Artpace artist in residence, Ramirez’ work has been exhibited nationally and internationally. As an artist and graphic designer, Ramirez processed and deconstructed the media world in which he lived. Using typography and digital imaging technology, Ramirez isolates and recontextualizes familiar objects and texts to explore the human condition. Always personally relevant, Ramirez explored cultural identity, mortality, and consumerism through his photographs and installations; his work subverted stereotypes of those who cross cultural boundaries. Ramirez resurrects waste—photographing filled garbage bags, dying flowers, and battered, empty piñatas—reflecting on the fleeting nature of human existence while imposing the will to survive. 

    • Chuck Ramirez Brooms: Escoba Verde, 2007, 2021 Pigment Inkjet Print 24.5 x 20 in 62.2 x 50.8 cm Edition of 6
      Chuck Ramirez
      Brooms: Escoba Verde, 2007, 2021
      Pigment Inkjet Print
      24.5 x 20 in
      62.2 x 50.8 cm
      Edition of 6
    • Chuck Ramirez Euro Bags: Green, 2009, 2015 Pigment inkjet print 14.5 x 10.8 in 36.8 x 27.3 cm Edition of 6
      Chuck Ramirez
      Euro Bags: Green, 2009, 2015
      Pigment inkjet print
      14.5 x 10.8 in
      36.8 x 27.3 cm
      Edition of 6
  • Carlos Rosales-Silva

    Rosales-Silva’s works are grounded in a practice of painting but often borrow from sculptural and installation practices, existing in the spaces between classification. For the last decade, his studio has been for research and mediation on the ever-expanding histories of Brown people in the United States. The artist’s works consider the histories of vernacular cultures of the American Southwest, the western canon of art history, and the political and cultural connections and disparities between them. The works themselves are abstract acts of personal discovery that reveal meaning long after they are completed. In this sense they are non-textual communications, a meditative and slow way of processing knowledge.

    • Carlos Rosales-Silva Floreria, 2021 Sand, crushed stone, and glass bead in acrylic paint on panel 18 x 14 in 45.7 x 35.6 cm
      Carlos Rosales-Silva
      Floreria, 2021
      Sand, crushed stone, and glass bead in acrylic paint on panel
      18 x 14 in
      45.7 x 35.6 cm
    • Carlos Rosales-Silva Springtime Champ, 2021 Sand, crushed stone, and glass bead in acrylic on panel 14 x 11 in 35.6 x 27.9 cm
      Carlos Rosales-Silva
      Springtime Champ, 2021
      Sand, crushed stone, and glass bead in acrylic on panel
      14 x 11 in
      35.6 x 27.9 cm
    • Carlos Rosales-Silva Botas Nuevas, 2021 Sand, crushed stone, and glass bead in acrylic on panel 14 x 11 in 35.6 x 27.9 cm
      Carlos Rosales-Silva
      Botas Nuevas, 2021
      Sand, crushed stone, and glass bead in acrylic on panel
      14 x 11 in
      35.6 x 27.9 cm
    • Carlos Rosales-Silva Gallo, 2020 Acrylic plastic, acrylic paint in crushed stone, and acrylic paint on custom panel 18 x 13 in 45.7 x 33 cm
      Carlos Rosales-Silva
      Gallo, 2020
      Acrylic plastic, acrylic paint in crushed stone, and acrylic paint on custom panel
      18 x 13 in
      45.7 x 33 cm
  • Mark Schlesinger
    Mark Schlesinger
    Some Way Out , 2021
    Acrylic, canvas, wood
    36 x 34 in
    91.4 x 86.4 cm

    Mark Schlesinger

    Originally from New York, Mark Schlesinger now lives and works in San Antonio, Texas. Mark Schlesinger is a painter whose work concentrates on an exploration of color and the visual tactility of material. Focusing on lines, planes, shapes, colors, Schlesinger is enthralled with the formal elements of painting. Schlesinger earned a Bachelor of Arts from Harpur College, State University of New York at Binghamton in 1971, and participated in the Whitney Museum of American Art Independent Study Program in New York City in 1972.  He was also a studio assistant to Lee Krasner for almost three years. “Schlesinger’s imagery is motivated on some fundamental level by his sense of the possibilities of representing, through abstract pictorial form, the body’s infinitely variable modes of touching, feeling, and being. Plainly, this cannot be a matter of literal reference or narrative.” - Michael Schreyach, Ph.D., Associate Professor of Art and Art History at Trinity University

  • Ethel Shipton
    Ethel Shipton
    When the Border Crossed Us, 2021
    Wood panel and porch paint
    24 x 72 in
    61 x 182.9 cm

    Ethel Shipton

    Ethel Shipton's practice is informed by a strong conceptual base and encompasses a variety of expression. Through painting, installation, photography, and text, Shipton spotlights instants of clarity that flit by in the comings and goings of daily life. Past works have centered on ideas of urban scenes, language, and attempts to process information. Time is an important issue of her oeuvre. We can find references to time and images of time throughout her art practice. “Space and time, movement and place I see going hand and hand. These two elements continue to be groundwork for my artwork. We all continue to move between time and space on a moment-by-moment basis.” – Ethel Shipton

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