Ruiz-Healy Art: Plurality of Isolations

RUIZ-HEALY ART

PLURALITY OF ISOLATIONS

FEATURING WORKS BY RF ALVAREZ, JESSE AMADO, JENNIFER LING-DATCHUK, JENELLE ESPARZA, BARBARA MIÑARRO, CECILIA PAREDES, ETHEL SHIPTON, AND CARLOS ROSALES-SILVA FEBRUARY 24TH - MAY 29TH 2021

PLURALITY OF ISOLATIONS PLURALITY OF ISOLATIONS TOUCHES ON THE EXPERIENCES SHARED BY MANY DURING THE COVID-19 PANDEMIC, POLITICAL DISTRESS, AND FRAGILE ECONOMIC ENVIRONMENT. THE EXHIBITION IS AN ASSEMBLAGE OF THE MEDITATIONS OF THESE ARTISTS WHO SHARE COMMON THEMES—SEPARATION, UPHEAVAL, UNREST, AND HOPE FOR BETTER DAYS TO COME. THESE PERIODS OF HARDSHIP INDELIBLY CAST A MARK ON ART AND SHAPE THE COURSE OF ART HISTORY. THOUGH THE COVID-19 CRISIS HAS HAD A SEVERE EMOTIONAL AND ECONOMIC IMPACT ON THE ARTISTIC COMMUNITY, ARTISTS ARE REGROUPING AND REINVENTING THEMSELVES FOR THIS NEW NORMAL AS THEY HAVE DONE IN PAST CATASTROPHES AND HAVE HELPED THOSE MOST AFFLICTED FIND SOLACE THROUGH THEIR WORK. ON VIEW, FEBRUARY 24TH - MAY 29TH 2021 201-A E OLMOS DRIVE, SAN ANTONIO, TEXAS 78212

RF ALVAREZ

RF ALVAREZ HAS MOVED AWAY FROM HIS PREVIOUSLY EDEN-LIKE ALLEGORICAL PAINTINGS AND INSTEAD TURNED THE LENS, “I’VE MOVED AWAY FROM ALLEGORY, TURNED THE LENS ONTO THE ROOM I DREAM IN RATHER THAN THE DREAM ITSELF. WHAT DREAMS I DO PAINT ARE DISTANT NOW, FADED, ALMOST COMING UNDONE THE LONGER TIME PASSES. THESE WORKS REPRESENT A SAMPLING OF THAT SEA-CHANGE, HOW A PANDEMIC AFFECTS A STUDIO PRACTICE.

RF. ALVAREZ BUT I REMEMBER WALKING IN COYOACAN WITH YOU, 2021 ACRYLIC, NATURAL EARTH PIGMENT, PENCIL ON CANVAS 48 X 36 IN

RF. ALVAREZ ARTIFACT OF SOME SMALL FORGOTTEN MOMENT, 2020 ACRYLIC, NATURAL EARTH PIGMENT, PENCIL ON CANVAS 36 X 34 IN

RF. ALVAREZ A HUNDRED YEARS, 2020 ACRYLIC, NATURAL EARTH PIGMENT, AND PENCIL ON CANVAS 48 X 48 IN

JESSE AMADO

ABOUT HIS MOST RECENT WORK, JESSE AMADO COMMENTS THAT “THE WORK… REFLECTS AN EXAMINATION OF THE UNIVERSAL TRAUMA THAT BEFALLS HUMANITY, COMPOUNDED BY THE POLITICAL NIGHTMARE ASSAULT ON DEMOCRACY AND CIVIL DISINTEGRATION CONFRONTING US ALL.”

JESSE AMADO MANOS OCUPADAS, 2003, 2020 INK ON PAPER, LE CORBUSIER ACRYLIC ON PAPER, AND WOOD 14 X 10 X 1.5 IN

JESSE AMADO DECEMBER 2020, 2020 LE CORBUSIER ACRYLIC AND BURNT FLAIRS ON CANVAS 30 X 24.5

JESSE AMADO COMMING AT YOU, 2020 LE CORBUSIER ACRYLIC ON CANVAS 20 IN

JESSE AMADO LIVES MATTER (NOOSE), 2020 SYNTHETIC ROPE, AND PLEXIGLASS 40 X 18 X 27 IN

JENELLE ESPARZA

JENELLE ESPARZA IS OPTIMISTIC ABOUT THE FUTURE: “I’M HOPING NOT FOR THINGS TO GO BACK TO NORMAL, BUT FOR THINGS TO GET MOVING AGAIN IN A NEW WAY.” SHE IS INTERESTED IN THE INTERCONNECTED IDENTITIES TIED TO LANDSCAPES AND THEIR HISTORIES, AND IN HER NEWEST SERIES, SHE REPURPOSES CAST BRONZE SPURS (THE HUSK REMAINING AFTER COTTON IS PICKED) INTO SYMBOLS OF CULTIVATION, SURVIVAL, AND FAMILY.

JENELLE ESPARZA THROUGH THE THRESHOLD, 2020 BRONZE CAST SPURS ATTACHED TO BRASS TUBES 29 X 17 X 2.5 IN

BÁRBARA MIÑARRO

DURING THE PANDEMIC, BÁRBARA MIÑARRO COMMENTS THAT SHE “WROTE PHRASES AND WORDS THAT STOOD OUT TO ME FROM NEWS, SONGS, BOOKS, AND EVEN SOCIAL MEDIA.” INCORPORATING THESE PHRASES INTO HER CURRENT WORK, SHE OBSERVES THAT “THESE WORDS GAVE ME A SENSE OF BELONGING AND EVEN EMPOWERMENT.”

BÁRBARA MIÑARRO IT OCCURS TO ME, 2020 FABRIC, RECLAIMED SNEAKERS, AND ACRYLIC 14 X 20 X 10 IN

BÁRBARA MIÑARRO FOR A LIMITED TIME ONLY, 2020 FABRIC, OIL ON CANVAS AND TUFTED YARN 14 X 20 X 2 IN

BÁRBARA MIÑARRO CHINGA TU SUEÑO AMERICANO, 2020 FABRIC, RECLAIMED CLOTHING, AND ACRYLIC 14 X 20 X 5 IN

CECILIA PAREDES

AS CECILIA PAREDES CREATES HER CURRENT WORK, SHE REMARKS THAT “FRAGILITY IS IN MY MIND.” HER NEWEST WORKS, ALLEGORY AND MAGNOLIA STORIES, REFERENCES “THE UNAVOIDABLE REMINDER OF THE PRESENCE OF DEATH DURING THE PANDEMIC,” AND THE PROXIMITY OF HER STUDIO TO A LOCAL HOSPITAL CONSTANTLY REMINDS HER OF THIS.

CECILIA PAREDES PARADISE HANDS IV, 2020 PHOTO PERFORMANCE INKJET PRINT 15.8 X 23.6 IN

CECILIA PAREDES ALLEGORY, 2020 PHOTO PERFORMANCE INKJET PRINT 19 X 22 IN

CECILIA PAREDES MAGNOLIA STORIES, 2020 PHOTO PERFORMANCE INKJET PRINT 21 X 32 IN

CARLOS ROSALES-SILVA

CARLOS ROSALES-SILVA STATES THAT BECAUSE OF THE PANDEMIC, NEW YORK CITY COMMERCIAL RENT SALES PLUMMETED. “I WAS ABLE TO MOVE INTO A STUDIO FOR RENT THAT WOULDN'T HAVE BEEN POSSIBLE PREVIOUSLY. IMMEDIATELY I WAS ABLE TO GET A STUDIO AND KEEP WORKING, AND THAT'S WHAT HAS KEPT ME GROUNDED THROUGHOUT THIS TIME. HOWEVER, THE PANDEMIC HAS AFFECTED MY COMMUNITY IN NEW YORK REALLY DEEPLY. IT’S PUT PEOPLE OUT OF WORK, AND IT’S MADE IT HARDER FOR WORKING-CLASS ARTISTS TO WORK IN ORDER TO SURVIVE.”

CARLOS ROSALES-SILVA DIABLITO, 2021 FLASHE ON LINEN 12 X 9 X 2.5 IN

CARLOS ROSALES-SILVA FALL LEAF, 2020 FLASHE ON LINEN 12 X 9 X 1 IN

CARLOS ROSALES-SILVA CUERNITOS, 2020 FLASHE ON LINEN 12 X 9 X 1 IN

CARLOS ROSALES-SILVA BOMBA, 2020 FLASHE ON LINEN 12 X 9 X 1 IN

ETHEL SHIPTON

SHIPTON TAKES INTO CONSIDERATION THE FACT THAT WE’RE ABOUT TO HAVE A YEAR OF LIVING THROUGH A GLOBAL PANDEMIC. SHE STATES, “DURING COVID-19 WE’VE ALL LEARNED TO LIVE WITH LESS. LESS CONTACT, LESS CONNECTION, MANY PEOPLE WITH LESS FOOD, LESS MONEY, AND SADLY MANY WITH LESS FAMILY AND FRIENDS IN THEIR LIVES.” SHE HAS BEEN PREOCCUPIED WITH HISTORY AND THE PAST AND WHAT THE FUTURE COULD LOOK LIKE. SHIPTON REWORKED HER EXIT SIGN SERIES AND REORDERED THEM TO PLACE COTULLA AT THE CENTER OF THE SEVEN SIGNS. IN 1845 THE US-MEXICO BORDER WAS THE NUECES RIVER AND NOT THE RIO GRANDE. THE FIRST US TOWN AFTER CROSSING THE NUECES RIVER IS COTULLA, A SIGNIFICANT PLACE FOR THE ARTIST AS ONE OF THE BIRTHPLACES OF THE CIVIL RIGHTS ACT OF 1964. “I AM OPTIMISTIC THAT THE WORLD CAN CHANGE FOR THE BETTER, I KEEP THINKING THAT LIFE IS NEVER WHAT YOU CAN SEE.”

ETHEL SHIPTON WHICH WAY TO GO: LA GLORIA, 2021 ARCHIVAL DIGITAL PRINT ON HAHNEMUHLE PAPER 48 X 36 IN

ETHEL SHIPTON WHICH WAY TO GO: EDEN, 2021 ARCHIVAL DIGITAL PRINT ON HAHNEMUHLE PAPER 48 X 36 IN

ETHEL SHIPTON LA FRONTERA 1845, 2020 ARCHIVAL DIGITAL PRINT ON HAHNEMUHLE PAPER 30 X 40 IN

JENNIFER LING-DATCHUK

JENNIFER LING-DATCHUK HOPES THAT WHEN WE LOOK IN THE MIRROR THAT WE SEE THE BEAUTY AND POWER WE INHERITED FROM OUR ANCESTORS. SHE STATES, “SO MANY TIMES I WISHED TO SEE SOMETHING OTHER THAN MY OWN REFLECTION BECAUSE I THOUGHT I NEEDED TO FOLLOW A STANDARD. I HOPE YOU ALL KNOW THAT YOU ARE FLAWLESS JUST THE WAY YOU ARE."

JENNIFER LING-DATCHUK FLAWLESS, 2021 PORCELAIN, BLUE AND WHITE PATTERN TRANSFER FROM JINGDEZHEN, CHINA, ON MIRROR PLEXIGLASS 20 X 16 X 3 IN

PLURALITY OF ISOLATIONS RUIZ-HEALY ART SAN ANTONIO 2021

RUIZ-HEALY ART RUIZ-HEALY ART, SAN ANTONIO 201-A EAST OLMOS DRIVE SAN ANTONIO, TEXAS 78212

DIRECTOR AND EDITOR: PATRICIA RUIZ-HEALY, PH.D. DIRECTOR: PATTI RUIZ-HEALY GALLERY MANAGER: ROBERTA ZERTUCHE CATALOGUE DESIGNER: BRYANA MCCOY

PLURALITY OF ISOLATIONS ON VIEW, FEBRUARY 24TH - MAY 29TH 2021

ESTABLISHED 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 TEXASBASED ARTISTS. WITH GALLERIES IN SAN ANTONIO, TEXAS, AND NEW YORK CITY, RUIZ-HEALY ART'S CONTINUOUS INVESTMENTS IN THESE UNDERREPRESENTED AREAS HAVE REMAINED A LONGSTANDING SIGNATURE OF THE GALLERY PROGRAM. TO REQUEST HIGH-RESOLUTION IMAGES AND MORE INFORMATION ABOUT THE EXHIBITIONS, PLEASE CONTACT THE GALLERY AT INFO@RUIZHEALYART.COM 212-510-7873 OR 210-804-2219.

RUIZ-HEALY ART RUIZ-HEALY ART, SAN ANTONIO 201-A EAST OLMOS DRIVE SAN ANTONIO, TEXAS 78212 RUIZ-HEALY ART, NEW YORK 74 EAST 79TH STREET, 2D NEW YORK, NEW YORK 10075 SA: 210.804.2219 NY: 212.510.7873 E: INFO@RUIZHEALYART.COM FOR MORE INFORMATION VISIT: RUIZHEALYART.COM