La Peña is proud to present a group exhibition highlighting the works of emerging and established artists living in Austin. You are invited to immerse yourself in a wide variety of themes and techniques inspired by each personal view, background, and sensitivity.
Through Their Eyes’ goal is to showcase a kaleidoscope of artworks to give the viewer a sense of the different art endeavors happening in Austin during these challenging times, and to celebrate the artists’ perseverance and hard work.
Through Their Eyes’ goal is to showcase a kaleidoscope of artworks to give the viewer a sense of the different art endeavors happening in Austin during these challenging times, and to celebrate the artists’ perseverance and hard work.
Alejandra Almuelle
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Raíces
Clay and Paper $400 each |
JC Amorrortu
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Moroccan Dream (Amae)
Oils on 24" x 30" Wood Panel $1800 I make art not only to please the senses but also to make you think and question everything. Born in Lima-Peru moved to Austin, Texas on December 21st, 2000. J.C. is a firm believer that every artist should develop their technical abilities, but also their conceptual ones. Art is very powerful and it should not only please or disturb your eyes but also communicate a message. J.C. is a traditionally trained artist in a variety of mediums whose goal is to connect the traditional and the modern to reach a better future. Instagram: @observ_er |
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Stuart Cameron
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Facing
Mixed media, 2021 Sold This piece represents the work to find balance & harmony between chaos and order and the line between what is felt and what is seen. I am on a continuous search for my point of view as an artist and human being. Instagram: @sacameron6 |
Cecilia Colomé
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From the Family Album, 2019
12" X 12 " Oil on canvas (framed) $500 I love animals, cats, dogs, and monkeys in particular. This oil painting is in honor of Andrés Colomé, a spider monkey who was very close to me during my college years. For me, Andrés was part of my family. He was a huge source of fun, curiosity, and love. Cecilia Colomé is a painter and printmaker who has made Austin her home since 1988. Cecilia was a student of the late painter Amalia Baquedano in Mérida, México, and studied printmaking with the late intaglio master Juan José Beltrán in México City. Cecilia holds a B.Sc. in physics from the UNAM and a Ph.D. in astrophysics from UT-Austin. Cecilia is a writer, editor, and translator of math and science textbooks. As a visual artist, Cecilia’s primary medium is oil on canvas. She also works with watercolor and gouache on paper. As a printmaker, Cecilia’s works on linoleum plates, and on zinc plates using dry point, engraving, aquatint etching, as well as intaglio and solar etching techniques. Cecilia has been exhibiting her art at La Peña Gallery in Austin, Texas, for the past 20 years. |
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Pepe Coronado
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Recast, 2020
Screenprint $175 framed, $100 Print |
This print is based on our current reality, where our lack of understanding and acceptance of the real history of this country has once again been revealed by a crisis. Frustration is loud and clear and spilling into the streets with calls to recast this nation and forge a reality more in line with its mythology and promise.
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Pepe Coronado was born and raised in the Dominican Republic and currently resides between Austin, Texas and New York City. Coronado is a founding member of the print collective Dominican York Proyecto GRAFICA. He has taught printmaking at the Corcoran College of Art; Georgetown University; and at the Maryland Institute College of Art in Baltimore, where he earned the Master of Fine Arts. Coronado was a master printer for Pyramid Atlantic in Silver Spring, Maryland; the Hand Print Workshop International in Alexandria, Virginia; and the Serie Print Project in Austin, Texas.
Most recent solo exhibitions include Interactions: Borders, Boundaries and Historical Relations of the US/DR, Prizm Art Fair, Rush Philanthropic Arts Foundation, Miami. White Plains Public Library Gallery, NY; Construcciones - Obstrucciones 2005 - 10, Casa de Teatro Santo Domingo DR for the PhotoImagen Biennial; Obstrucciones, Gallery 101, Georgetown University, Washington DC. And Amos Eno Gallery, Brooklyn, NY.
Most group exhibitions include Printing the Revolution, curated by Carmen Ramos at the Smithsonian American At Museum in Washington DC; Uptown triennial, curated by Deborah Cullen and Suleo, CCNY art gallery; Superreal at El Museo del Barrio, NY, curated by Rocio Aranda-Alvarado; El Panal/The Hive, Trienal Poli-Grafica de San Juan Puerto Rico, curated by Deborah Cullen.
Coronado’s work is in many collections including The Smithsonian American Art Museum, The Archives of American Art, The Rutgers Archives for Printmaking Studios; CUNY Dominican Studies Institute, City College of New York City; El Museo del Barrio; El Museo Latino; The Library of Congress, and El Paso Museum of Art and Mexic-Arte Museum.
www.coronadoprintstudio.com
Instagram: @coronadoprintstudio
Most recent solo exhibitions include Interactions: Borders, Boundaries and Historical Relations of the US/DR, Prizm Art Fair, Rush Philanthropic Arts Foundation, Miami. White Plains Public Library Gallery, NY; Construcciones - Obstrucciones 2005 - 10, Casa de Teatro Santo Domingo DR for the PhotoImagen Biennial; Obstrucciones, Gallery 101, Georgetown University, Washington DC. And Amos Eno Gallery, Brooklyn, NY.
Most group exhibitions include Printing the Revolution, curated by Carmen Ramos at the Smithsonian American At Museum in Washington DC; Uptown triennial, curated by Deborah Cullen and Suleo, CCNY art gallery; Superreal at El Museo del Barrio, NY, curated by Rocio Aranda-Alvarado; El Panal/The Hive, Trienal Poli-Grafica de San Juan Puerto Rico, curated by Deborah Cullen.
Coronado’s work is in many collections including The Smithsonian American Art Museum, The Archives of American Art, The Rutgers Archives for Printmaking Studios; CUNY Dominican Studies Institute, City College of New York City; El Museo del Barrio; El Museo Latino; The Library of Congress, and El Paso Museum of Art and Mexic-Arte Museum.
www.coronadoprintstudio.com
Instagram: @coronadoprintstudio
The Death Head
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Egypt
Marker on paper $400 framed As an artist, I’m trying to recreate images that have no logic. These images are full of mystery and sometimes impossible to understand. Their actions are playful and satirical. They ridicule and confuse the viewer. They are a parody of human rules and explain to the viewer that nothing should be taken seriously. They explain that we are no longer in the physical world. My subjects and protagonists are experiencing a grotesque metamorphosis and are shapeshifting. Their faces are transforming into animal skulls and are often showing animal characteristics as well. This begins to live in constant duality, where they live and die, they are human and animal, nature and void, light and matter. Instagram: @thedeathhead |
Marco Duran
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Emily Galüsha
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Seven for a Secret, Never to be told, 2018
Antique newspaper clippings, graphite, colored pencil, acrylic on panel $1235 Piece #7 in a series of 10 called “Counting Magpies”. This work shows a parliament of magpies carrying a clue. What ominous message do these 7 corvids bring? Their graceful nature is counterbalanced by the masculine machine. There is an age-old struggle in finding balance between the natural world and the human condition. Having broken down the old English magpie rhyme “One for Sorrow” into a series of ten pieces, I focus on the attribution of chance to Nature. According to the superstition of the magpie poem, the number of magpies seen tells if one will have bad or good fortune. Inspired by the time spent out west where back-billed magpies are abundant, I enjoyed using the rhyme to tell a few stories of my own. www.emilygalusha.com Instagram: @emilyegalusha |
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Naxieli GomezGranada de Austin, 2021
Oil on canvas $4200 naxfineart.com My work is an exploration of the quiddity of the form, textures, and colors of the ingredients of Mexican cuisine. During my work process, I transport myself to my childhood, to the flavors, and the chanting sounds of the Zapotec language at my grandmother's house in the Isthmus of Tehuantepec. |
Luis Guerra
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Guardián de la Tierra, 2021
Watercolor on Paper $350 unframed Quetzalcóatl en el cielo. I am calling for a renewed vision of the Earth that embraces the realization that she is alive and that we are her children and her stewards. Our future is in the balance! This is part of my second Amuleto series, blessings for the home, small watercolors on paper. It's a challenging paper—rustic and artisanal paper—from the Taller Arte Papel, founded by the late Francisco Toledo in Oaxaca City. Over the years, I have come to discover what I believe to be the original and true. process and purpose of art: Respect for the craft. Working from the heart, with the hands. Searching to understand the great mystery. To pray, to make offerings, to give thanks. True art is spiritual, and enlightening! www.GaleriaGuerra.com |
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Brian Joseph
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Shelter from abuse
Acrylic on paper $500 Putting all forms of abuse under an umbrella for shelter. www.bydee.com |
Kill Joy
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Pandemic as portal
Serigraph $100 unframed |
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Carlos Lowry
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Desorden
Acrylic on canvas 30x40” $600 Two major life experiences influence my art: my Latin American upbringing and my work as an Austin muralist. My acrylic paintings — bold and graphic — are figurative and inspired by contemporary cultural, political, and technological images. Musicians, film, political events, networked reality, and Latin America are frequent themes. As I paint, the images develop a life of their own, sometimes surprising me. The creative process is an unmapped journey that leads me to unanticipated places. I like to leave a little to the imagination of the viewers, so although the stories residing in my paintings are accessible, they do not entirely reveal themselves. Instagram: @carlitoslow www.flickr.com/photos/carlos/albums/18479 |
Yleana Martinez
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Brisa marina/Sea Breeze, 2021
Argentium silver, 24karat gold, chrysoprase, handknit chain, keum boo gold, hammer textured 20” $600 Yleana Martinez is a metalsmith who works in silver and gold, using precious stones, some that she cuts and polishes herself. She learned the art of jewelry making mostly at Metalwerx, an internationally recognized not-for-profit school in Waltham, Massachusetts. A former Studiomate and monthly blogger for the the school, Yleana has returned to beloved home in Austin, Texas, after almost three decades of living near Boston. She travels frequently to far corners of the globe, always in search of native stones and gems to use in her work. "Nothing feels more gratifying than using fire to transform Earth's gifts into art. I honor the planet by practicing ethical metalsmithing, using materials that came to us from the stars and are as old as time itself." www.yleanamartinez.com |
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Fernando Muñoz
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A Mediterranean Affair, 2020
Watercolor, pencil and Ink on paper 15x12” (frame) $150 Fernando Muñoz is a self-taught artist from Chile living in Austin, Texas since 2004. His work explores themes such as melancholy, dreams, and memories. Using intricate patterns and lines Fernando creates metaphorical and almost surreal portraits and landscapes. www.fernando-munoz.com |
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Maia Muñoz
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Athena, 2021
Scratchboard $70 In Greek mythology, a little owl (Athene noctua) traditionally represents or accompanies Athena, the virgin goddess of wisdom, or Minerva, her syncretic incarnation in Roman mythology. Because of such association, the bird—often referred to as the "owl of Athena" or the "owl of Minerva"—has been used as a symbol of knowledge, wisdom, perspicacity and erudition throughout the Western world. Instagram: @arttryl |
Angela Navarro
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Happy dreams & candy, 2020
Mix media on canvas 16 x 20 $350 There is comfort in the repetition of patterns and color that has always sparked a great deal of interest in me. The impression on the subconscious of colors and shapes becoming one of my passions. At the core of my work, there is a pursuit of the use of color and its intricacies. I am engrossed by the creation of complex tonalities and how to arrange them together, maintaining harmony while combining contrasting silhouettes. I work with nature-inspired shapes, lines, and textures building layer upon layer on the canvas. Like an internal dialogue between me and my psyche. The motives inside my paintings are routed into daily events and anecdotes. Mostly, using nature as a vehicle for introspection at the service of the representation of thought processes, rather than nature itself. Nature being the anecdote and the formal elements of the artwork, such as composition, color, textures, and lines being at the core of the narrative of the piece. Angela Navarro is an artist based in Austin TX. www.angelanavarroart.com Instagram: @angelanavarroart |
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Alejandra Regalado
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Vestido de quinceañera, "Lo usé hace algunos años; es un vestido muy especial.”
Quinceañera Dress, “I used it a few years ago; it is a very special dress.” Printed on Hahnemtule Fine Art paper $225 each / $450 both |
In Reference To is a project about Mexican female immigrants across the U.S., exploring issues of cultural identity, femininity, and our relationship to these themes through personal objects. The work features 1000 images, 500 portraits of women who emigrated from Mexico to the U.S. at different points in their lives, spanning a wide range of ages and socioeconomic backgrounds. Each woman is featured alongside the picture of a physical object that represents her connection with Mexico.
In Reference To is a bi-national project, with subjects photographed in California, Idaho & Oregon, Illinois, New York and Texas. The women come from 31 states in Mexico and the Federal District. They work in a wide variety of professions including: business executives, students, artists, housekeepers, nannies, teachers, personal assistants, secretaries, and sales representatives. The women of In Reference To were photographed in a square format against a white background as a reference to the ID (identification) photo. The objects are isolated against a white background, a reference to the way pre-Columbian archeological artifacts are cataloged and celebrated throughout Mexico. The stories presented are a direct reference to, and a reflection of, the hundreds of thousands of Mexican female immigrants in the United States. |
Alejandra Regalado was born in Mexico City, currently lives and works in Austin. She has been awarded with the Individual Artist Grant from the New York State Council on the Arts. She is the 1st Place Professional Photographer at Festival Internacional de la Imagen, Mexico. Her work has been exhibited in solo and group shows in Mexico and the U.S.
“I am no longer from Mexico or from the United States; I am at home in myself. In a time of political turmoil and contested citizenship, my work speaks to the possibility of finding home.”
“I am no longer from Mexico or from the United States; I am at home in myself. In a time of political turmoil and contested citizenship, my work speaks to the possibility of finding home.”
Jessica Rose
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Foresee, 2020
Oil on panel $300 This piece was from a plein air session and really comes from a place of nostalgia. But nostalgia for a moment that hasn’t yet passed. Sometimes we can feel the importance and impact of a moment while we’re experiencing it, and we already long for its return. Jessica received her BFA in painting from the University of Louisville and moved to Austin in 2016. For the past three years, she has lived on a farm on the edge of Austin and continues to be inspired by the surrounding Texas landscapes. Instagram: @Jess_rose_art |
Lili Rose
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Red Ball
Wooden box with various items: metal rod fixtures, paint brush, rubber ball, bottle, snaps, thread, jacks, silver bracelet and nut utensils 11 x 16 inches I come from a family of visual artists. My grandfather and father were professional artists and five of my siblings paint or sculpt. My father’s abstract expressionist paintings greatly influenced my work, as did living in central Mexico for a decade. In Mexico I was exposed to artists and craftsmen who used vivid colors and made pieces out of whatever was available to them. My art reflects who I am -a lover of color, and a collector of discarded objects. I have found things in the street, secondhand shops and empty houses. The challenge is to make a whole out of the small ordinary things accumulated over time. Many times the collected items determined how the artwork came together. My process includes cutting, sanding, painting, arranging and rearranging items to construct something new. I draw inspiration from the works of Louise Nevelson, Joseph Cornell, Alexander Calder, and my late father Kirby Rogère. |
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Deshawn WashingtonTorrent
Charcoal pastels, 1993 28x25” (frame) $1400 |
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Liliana Wilson
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Flautista, 2020
Color pencil on paper 10” by 10” $500 Liliana Wilson was born in Valparaíso, Chile where she began drawing at the age of eight. Her early paintings sought to process the trauma she had witnessed in Chile that coincided with dramatic political changes that followed the 1970 election of Salvador Allende and the subsequent military coup in 1973 that initiated a wave of human rights violations. She immigrated to the United States in 1977 and pursued studies in art at Texas State University. She has exhibited throughout the United States, Mexico, Argentina and Italy. Liliana’s most recent work represents immigrants and refugees transitioning into unknown worlds. Occupying liminal/nepantla spaces, they are portrayed en un viaje, a journey of integration toward wholeness and arriving in new contextual spaces they can finally call home. These immigrants understand the impossibility for them to remain in their places of origin yet their spirits soar with the possibility of realizing a new dream of life based on love, hope and healing. Musical instruments and other cultural symbols signify their special gifts and talents, their own unique ofrenda, that they will contribute wherever they arrive. |
A book on her work, “Ofrenda: Liliana Wilson’s Art of Dissonance and Dreams“ was published by Texas A & M Press in 2015 and was edited by Norma E Cantú. The book is a collection of essays based on Liliana’s work and written by prominent Latina/o art historians, collectors and scholars. In the book Liliana’s close friend, Gloria Anzaldúa, writes: “The beauty of Liliana's paintings lies in their understated optimism. Even as las figuras realize that some part of them will always bear wounds, something in their eyes shows us that they know that after a long struggle they will cross to the distant shore where they will integrate themselves into a wholeness of sorts. Their eyes anticipating the healing, envision reaching el otro lado.”