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Copyright 2021 by Stola Contemporary Art. ISBN: 9798467776309 The book author and each artist here retains sole copyright to their contributions to this book. No part of this book may be reproduced in any form or by any electronic or mechanical means without prior permission in writing from Stola Contemporary Art, 3738 W Irving Park Road, Chicago, IL 60618, 708-334-7062, www.StolaContemporaryArt.com Catalog cover designed by Atlan Arceo-Witzl Catalog interior designed and edited by Karen M. Gutfreund, www.KarenGutfreund.com @karengutfreundart
About the Gallery: We have an exciting curriculum planned for 2021 including readings, artist talks, workshops and thought provoking (and perhaps a bit controversial!) calls for art! The majority of the artists we work with are either Chicago based or have strong Chicago ties. Please stop by and visit to see what makes the Chicago Art scene so vibrant! Stola Contemporary Art, 3738 W Irving Park Road, Chicago, IL 60618, www.StolaContemporaryArt.com 2
Intersections: 3 Generations José Armando Arceo Atlan Arceo-Witzl René Arceo September 17 – October 31, 2021
Stola Contemporary Art Chicago
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INTRODUCTION
Intersections: 3 Generations Intersections: 3 Generations showcases the work made by a family of artists. Each member of the Arceo family brings a
unique voice to the collective while also sharing graphic and thematic interests. This exhibition juxtaposes José Armando Arceo’s street art aesthetic with Atlan Arceo-Witzl’s symbol-based visuals and René Arceo’s magically organic hand. They employ a diverse array of media to explore their shared Mexican heritage, typography, design, community, their surrounding environment, the self, and contemporary life. They all find grounding in the creative act as they carry on this tradition. They learn from the intersections, continuing to make work that is informed and emphatically their own. All three artists have experience with relief printmaking as well as large scale murals. Both mediums recall the influential history of artists in post-revolutionary Mexico around the turn of the 20th century. These disciplines engaged form, line, and language to tell stories, convey political ideas, and investigate the barriers between representational and abstract art. The work of the Arceo family will occasionally harken back to this history. Sometimes subtly and at other times overtly. Their work describes their life in the United States in manifold ways just like the Mexican greats and the people of Mesoamerica did in their society because that is what artists are want to do.
Atlan Arceo-Witzl
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José Armando Arceo ARTIST STATEMENT: Graffiti has always been part of his artistic development and he uses it as a second sketchbook from which he brainstorms ideas to create new works. José uses graffiti as a beginning step to any project he undertakes. The sketchbook helps with color palette selection and balance of a piece. José has taught a few beginners art classes, exhibited in different venues around the Midwest and abroad. Never missing a beat with any deadlines, putting 110% into the challenges any project put on his plate. Ready to take on any new project no matter what the medium.
BIO: José is a self-taught artist from Chicago working in multiple disciplines. He attended the early artist program at the School of the Art Institute of Chicago at age nine. From age 14 to 21 he attended the Yollocalli Arts Program at the National Museum of Mexican Art. There José received a huge etiquette lesson about the broad world of the arts and its many medium possibilities. He also kept busy by working with different arts organizations like Gallery 37, Little Black Pearl Workshop, Chicago Public Art Group and a few neighborhood organizations. José painted more than twelve murals in the Chicago area, including two CTA bus murals. He received several mural commissions including the North Riverside Park Mall; the UIC School of Theatre and Music; the Chicago Children’s Theatre; and the Legacy Foundation in Gary, Indiana among others.
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B for Barber, 2021, Acrylic on woodcut cutout, 33 x 30.5 x 1.5 inches 7
Crow, 2021, Linoleum cut, 12 x 12 inches 8
Mouse Trap, 2020, Ink on paper, 6 x 8 inches 9
Rise Battle, 2021, Spray paint and acrylic on canvas, 48 x 24 x 1.5 inches 10
Rise, 2021, Linoleum cut , 11 x 8.5 inches 11
Rise, 2021, Spray paint and acrylic on canvas, 48 x 24 x .75 inches 12
Space Wood, 2021, Spray paint and acrylic on canvas, 48 x 36 x 1.75 inches 13
Tools, 2021, Linoleum cut, 11 x 8.5 inches 14
Welcome Race Fans, 2019, Spray paint and acrylic on canvas, 48 x 24 x 1.5 inches 15
Mural, Gary Public Art Competition, 2018, Spray paint on brick, 17 x 60 feet 16
Mural (detail), Gary Public Art Competition, 2018, Spray paint on brick, 17 x 60 feet 17
Mural, Electricidad (Electricity), 2018, Spray paint on plywood, 16 x 30 feet, UIC's School of Theatre & Music 18
Mayra, 2003 Acrylic on found wood, 48 x 36 inches, Private Collection 19
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Atlan Arceo-Witzl ARTIST STATEMENT: In my artistic practice I try to make something every day. For as long as I can remember I have been compelled to draw and create visual things, to communicate with those around me. It is only within the past several years that I have come to recognize this ritual as a process. The need I have to create something when an image flashes in my mind or when I resonate with some external visual creates conditions that I have to deal with in the moment. My hand and mind are guided by time restraints, available materials, subject matter, visual and/or concept intricacy, usefulness, etc.
These factors enable a variety of productive creation rituals. I see these moments of habit mirrored in everyday tasks like sipping on coffee or combing your hair. In experiencing these moments as tasks, you will often find that a ritual requires a tool or ritual object. I often include objects that I think are useful and have an intriguing form: comb, mug, radiator, telephone. My imagery is built upon the amalgamation of lines and forms that share a highly graphic aesthetic that sits somewhere between craft handiwork and industrial production of printed ephemera. Each component of my images I see as an icon or symbol. I am intrigued by the visual language of Mesoamerican and indigenous cultures around the world as well as more modern institutions like the United States Postal Service and the way humans can compose a logical visual network. I hope to instill a sense of ancientness and modernity in my work, continuing to bridge time and place with the way we make use of objects and visual symbols in the ritual of communication.
BIO: Atlan Arceo-Witzl is a Mexican-American visual artist and creator whose work is concerned with everyday rituals, icons, symbols, objects, and language. In his artistic practice, the cultural production of print ephemera, craft of the sign-painting industry, redefining "American" through a Latinx lens, and documenting/ recording of events across multiple mediums/ languages are current points of focus. Atlan is a graduate of Skidmore College with a Bachelors of Science in Studio Art with a concentration in relief printmaking and sculpture. He lives in Chicagoland, IL pursuing a career in the arts and education while enjoying the fascinating human game of communication.
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We’re in This Together?, 2021, Acrylic, 9.5 x 5.75 inches 22
Where is Justice? (Adam Toledo), 2021, Ink and acrylic, 19 x 16 inches 23
Bajo el Mismo Cielo - Reunido en el Arco, 2020, Paint, collage, mixed media, 84 x 24 x 3 inches 24
Bajo el Mismo Cielo - Reunido en el Arco, 2020, Paint, collage, mixed media, 84 x 24 x 3 inches, Detail As a Mexican-American who grew up speaking both Spanish and English, I’ve come to recognize that certain phrases don’t have the same impact when translated from one language to the other. At the center of Bajo el Mismo Cielo - Reunido en el Arco are three vignettes which illustrate a relationship between “El Vivo” and “El Muerto.” Each scene is accompanied by a colloquial phrase in Spanish concerning those grieving the loss of a loved one. In a humorous rhyme scheme, “El Vivo” honors “El Muerto” by moving forward with their everyday life, reveling in mundane joys without failing to remember and honor the deceased. During Dia de los Muertos, Mexicanos celebrate the legacy of the deceased and a life well-lived which broader American culture doesn’t share. At the bottom of this piece is a gravestone that reads “¡Asustame Panteon!,” literally taunting death (“Scare me, cemetery!”). It’s an enthusiastic sentiment that encourages us to make the best of our lives while we are here. 25
Self-Portrait Without Words, 2021, Graphite, 14.5 x 12 inches 26
Chicago Disfrasismo
2020 Woodblock print on dyed paper 18 x 11 inches Difrasismo is a term used to describe a grammatical structure phenomenon in the study of some Mesoamerican languages in which two words work together to form a phrase of new meaning. As a person of mixed heritage – Mexican and American/ German – duality is a state of being with which I am constantly identifying. Often l’m searching for the rich and empowering messages underlying this state and how that can help carry on cultural history and traditions. I transformed the word difrasismo here into “disfrasismo” so as to resemble the spanish word for costume: disfraz. In the image a large Frontera (border) Figure stands guard over the printing press below. They are a representative of "Cultural Workers" but also of cuitlapilli ahtlapalli (in Nahuatl) which translates to "the tail, the wing," but really means "the people/ the common folk." Chicago is my home in many ways. I wanted to present the pride I have in my culture, my city, and the printmaking community that bridges across borders.
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We Must Fight for All Black Lives 2020 Screen print 18 x 12 inches
Intersectional Black liberation must be at the heart of our current anti-racism movement. We must fight for all Black lives and oppressed peoples in solidarity with our co-conspirators. As a young MexicanAmerican or Chicanx man, I live with the experience of being in between multiple identities as all of us do. The important part is how we address the positionality we inhabit by acknowledging our privileges, our strengths, our weaknesses, and how we can work to dismantle kyriarchal systems of oppression, however they manifest – from the monumental to the individual. We must uplift the voices in leadership of those most oppressed by said systems who demand equity, who demand accountability and restorative justice. We either work for everyone simultaneously or we work to perpetuate the current power structures upheld by the older, White, heterosexual, cis-gendered, ablebodied, wealthy, Christian, men who founded this nation to protect their personal interests.
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Painted Pig for Pleasure, 2020, Acrylic, 22 x 15 inches 29
Te Extraño y Soy Terco, 2020, Ink and acrylic on paper bag, 16.25 x 4.5 inches 30
Aztec in the Fourth World, 2020, Ink and acrylic, 7 x 11 inches 31
The Spirit of Sweat, 2020, Sumi ink on envelope, 6 x 10.5 inches 32
Doppelganger Devils, 2020, Ink, acrylic and color pencil, 8 x 11 inches 33
Losing You, 2020, Ink and collage, 9.5 x 14.5 inches 34
Winter and Spring Deity Impersonation, 2021, Ink and acrylic, 9.5 x 14.5 inches 35
Guts ‘n’ Glory, 2021, Ink and acrylic, 14.5 x 9.5 inches 36
Produce, 2020, Ink, acrylic and pen, 3.5 x 11 inches 37
Yonder It Is, 2019, Pen and acrylic, 17.75 x 14.5 inches 38
Present Moment Surplus, 2019, Pen, acrylic and stamps, 13.5 x 9 inches 39
Information Age, 2019, Cardboard, acrylic and collage, 4.75 x 4.25 x 4.25 inches, Front View 40
Information Age, 2019, Cardboard, acrylic and collage, 4.75 x 4.25 x 4.25 inches, Back View 41
Does It Weight on You?, 2019, Cardboard, collage and acrylic, 5 x 4.25 x 4.25 inches, Front View 42
Does It Weight on You?, 2019, Cardboard, collage and acrylic, 5 x 4.25 x 4.25 inches, Back View 43
What is?, 2019, Pen, acrylic and stamps, 13.5 x 9 inches 44
Guy with Fish Hat, 2018, Colored pencil, collage and stamps, 13 x 5 inches 45
Comunicación Mictlan: Bienvenido a la Siguiente Vida!, 2018, Mixed media, 13 x 16 x 11.25 inches In the Aztec culture, there was a belief that those who died were never truly dead. Instead, they were passing on to the afterlife. Mictlan was the general name for this underworld realm that was ruled in part by the god Mictlantecuhtli. Here, Mictlantecuhtli can be seen as the president of the communication company Comunicación Mictlan. He gives each individual a veliz (suitcase) of their own and welcomes them into Mictlan on the central screen of their “communication station.” The suitcase of the “newly-dead” also contains the form of the cempazuchitl (marigold), a ceremonially wrapped body, a comb representing our daily rituals, a telephone representing the game of communication, as well as a short poem by the Aztec poet Nezahualcoyótl (hungry/fasting coyote). 46
You Are my Other Me, 2020 Mosaic mural in Oak Park, IL, approx. 14 x 12 feet The two main figures, who will be forever locked in a loving embrace, stand in solidarity with one another. Their masks are a nod to life in 2020, while their uniforms serve as a tribute to all essential workers and everything they have sacrificed to keep us going. Through this transformative moment in our history, we have found ways to come together and recognize the strength in our unity. This project was about reflecting our society's current crises in a way that empowers the community. Choosing to use the message "you are my other me" (English for the Mayan phrase In Lak’ech) is meant to address the way people of color and working class people, among other groups, are systematically oppressed and exploited in this country. The premise of the message is “If I do harm to you, I do harm to myself. If I love and respect you, I love and respect myself.” Designed by Atlan Arceo-Witzl and created in collaboration with Carolyn Elaine, Zaria Gilmore, Ali Schiffner, Greta Olson, Jenn Eisner, and Darren Edwards *Made possible by funding from the Oak Park and River Forest Foundation and support from Camille Wilson White of the Oak Park Area Arts Council. 47
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René Arceo ARTIST STATEMENT: Many of the influences and sources of inspiration for my work come from the Mexican School of Art with printmakers such are Alfredo Zalce, Sara Jimenez, Alberto Beltran, and Leopoldo Méndez. Simultaneously I draw inspiration from European artists like Kate Kollwitz, Francisco Goya, and Pablo Picasso among others. Human, social, and sometimes political commentaries are the common themes addressed in my prints. During my youth I was exposed to activism and social justice providing solidarity through the arts to people’s struggles. After moving to Chicago and entering art school my works continued to reflect those artistic interests. I feel that as a member of a given society the artist should, in a nondogmatic fashion, artistically respond to social, economic or even political accounts and events taking place in our society. This wouldn’t be in place of, but rather in addition to, expressing other universal concerns and feelings and artistic explorations. Throughout history, artists have always reflected their own time and place either by offering critical views or by maintaining the status cool. Prints have a special beauty and magic for me. On one hand, the pleasure and the enjoyment of the carving process, each individual line and texture, just like an artisan. On the other hand, the magic and often surprising results after pulling the first impression, first color or the overlapping of multiple colors. I enjoy working with and printing on paper as my main support for prints, watercolors, collages, and mixed media works. An additional and final element of great interest to me is the fact that multiplicity can contribute to reaching larger audiences while subsequently making the artwork more affordable and accessible to larger section of society. In most cases my works evolve as a product of a spontaneous act. The act of drawing lines on a surface, which evolve into shapes and forms defined in the spontaneous process of creating them. That is, most often while creating art I do not depart from a specific idea or concept I want to address. Rather, it evolves out of the markings made spontaneously. In other cases, images are inspired by photographs that compel me to create a linocut or a woodcut.
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René Arceo BIO:
Born in Michoacán, Mexico, he moved to Chicago in 1979. Rene graduated from the School of the Art Institute of Chicago. From 1986 2009 he worked for the National Museum of Mexican Art in various capacities including Arts Director. In 2000 he started working for the Chicago Board of Education managing their art collection, website and related exhibitions as well as district wide art students’ programs. From 2007 - 2020 he was an art instructor at Monroe Elementary School where he also directed students in the creation of murals about world cultures. René co-founded Galeria Ink Works (1984) and in 1990 the Taller Mexicano de Grabado (Mexican Printmaking Workshop). In 2005 he established Arceo Press (www.ArceoPress.com) to promote international printmaking collaborative exchanges through the creation of limited-edition print portfolios where artists create prints and seek exhibition opportunities abroad. Arceo Press has published fourteen limited edition portfolios with the participation of artists from Mexico, Spain, Canada, France, Nicaragua, Costa Rica, Puerto Rico and the United States. Arceo Press collaborated with the Ukrainian Institute of Modern Art in 2016 to publish a print portfolio “Chernobyl: Artists Response” and with the Chicago Society of Artists published two print portfolios: in 2015 “Chicago and in 2018 “Illinois.” Arceo Press, with the support of the National Autonomous University of Mexico (UNAM), Morelia Campus, organized a travelling exhibition “The Border Crossed Us.” This exhibition, with an accompanying catalogue, has been exhibited at the UNAM’s Cultural Center, Morelia; Unidad Academica de Estudios Regionales at Jiquilpan, Mexico; UNAM, Chicago; the Bridgeport Art Center, Chicago; and the University of Northern Colorado at Greeley. The exhibition is scheduled to travel to the University of Picardy Jules Verne at Amiens, France in 2022. René has participated in dozens of group and solo exhibitions in Poland, Mexico, Spain, Nicaragua, Puerto Rico, Canada, France, Italy, and the United States. He has received acquisition prizes and scholarship grants from the City of Chicago and Arts Midwest Foundation to promote and show his artworks in Guadalajara, Mexico. Rene received two Governor’s International Exchange Program from the Illinois Arts Council to travel, lecture and exhibit in Lublin, Poland (2002) and in Paris, France (2006). He received the Chicago-Lucerne Art Residency Grant to travel and produce work in Lucerne, Switzerland (2018).
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Partial view of René Arceo’s exhibition at the Bridgeport Art Center, Chicago 51
Armchair, 2021, Ceramic with underglaze, 7 x 5.5 x 4.5 inches, Front View 52
Armchair, 2021, Ceramic with underglaze, 7 x 5.5 x 4.5 inches, Back View 53
Caballo desbocado, 2019, Linoleum cut, 30 x 22 inches 54
Calavera embelleciendose (skeleton beautifying herself), 2015, Reduction linoleum cut, 22 x 30 inches 55
Corona-virus, 2020, Self-drying clay and acrylic, 10 x 8 x 6 inches, Side A 56
Corona-virus, 2020, Self-drying clay and acrylic, 10 x 8 x 6 inches, Side B 57
Cortez, a 10 años II (Cortez, ten years ago II), 2015, Woodcut, 15 x 11 inches 58
Cylinder, 2021, Ceramic with underglaze, 8.5 x 8 x 8 inches, Side A 59
Cylinder, 2021, Ceramic with underglaze, 8.5 x 8 x 8 inches, Side B 60
Cylinder, 2021, Ceramic with underglaze, 8.5 x 8 x 8 inches, Side C 61
Elegant Shoe, 2021, Self-drying clay and acrylic, 5 x 7 x 3 inches 62
Housing is a Right, 2019, Linoleum cut and watercolor, 22 x 30 inches Created for an exhibition dealing with displacement in the Pilsen neighborhood, this print focuses on a sort of monster, part human and part animal, who carries upon it shoulders iconic downtown buildings. The monster is parading down 18th street, the main artery of Pilsen, in the direction of the Jumping Bean Café. This café is the soul of the neighborhood as it has been for three decades the meeting place for painters, muralists, writers, singers, musicians, poets, illustrators, graphic designers and more. 63
Lilibeth, 2015, Woodcut, 22 x 26 inches 64
Lincoln, 2019, Linoleum cut, 35 x 28 inches 65
Magician, 2021, Linoleum cut and watercolor, 22 x 30 inches This print is about a kind of made up wild dream or nightmare; about everything and nothing at the same time. About the madness and reach of magic power juxtaposed to the power of nature and the cosmos. 66
Monarca sobre Chicago (Monarch above Chicago)
2018 Linoleum cut and watercolor 20 x 15 inches
This print is an attempt to connect the place where I come from Michoacán (location of the Monarch Butterfly Sanctuary) and the place I now call home, Chicago. The image includes within the butterfly wings several faces, portraits of unidentified people. Monarchs migrate South to the state of Michoacán arriving in time for the Day of the Dead celebrations on November 1 and 2. Indigenous people believe that the butterflies are the spirits of their deceased relatives returning every year to rejoin the family for this occasion. The bottom section of the print shows several iconic buildings the city of Chicago. The city of the big shoulders supports the migrating butterflies who like me have migrated to this country.
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Moon Story, 2021, Ceramic with underglaze, 9.5 x 5.5 x 4 inches 68
Murcielago-virus (Bat-virus)
2020 Woodcut and linoleum cut 30 x 22 inches
The idea for this print came from the earliest reports that pointed to the likelihood that COVID-19 jumped from bats to other animals and then to humans in China, where bats are considered a delicacy. Scientist have proven that bats carry naturally several viruses without been affected by them. The increasing exposure of humans to wild animals carrying deceases has been on the raise, particularly by two factors: the fast population growth and human encroachment into wild animals’ habitats. This country was already the source and originator of SARS in recent years, now we experience COVID-19. On top of the composition, I used a stylized Aztec bat with broad opened wings. Hanging from the bat are Covid-19 virus symbols radiating negative energy below onto to a large central figure. The young female figure stands with uncertainty while all red radiating energy surrounds her and infecting her. It is a moment frozen in time where there is no decision made as to whether or not she will survive or perish.
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Pecse Movimiento (Pecse movement), 2012, Reduction linoleum cut, 22 x 30 inches This is a playful image with a central eye and a fish shape. The eye is an indispensable element for a visual artist so, I use it quite often to represent a witness, someone to share testimony of the experiences happening around us. The use of images of fish connects me to my place of origin where my uncles were fishermen. Therefore, fish images were abundant in my world growing up, including the variety, size and uses of different fish types. The additional elements of water and land equally root me to my hometown on the shores of Lake Chapala where I learned to swim as a little boy. 70
Pompous Fool, 2019, Linoleum cut and watercolor, 11 x 15 inches This woodcut addresses the explosive nature of an inflated cartoonish figure, representing Trump. His largemouth produces lie after lie, and reporters estimate that he has voiced more than 10,000 lies to date. A young healer representing the purity and positive spiritual energy confronts him. The healer, under the influence of peyote, performs a cure to straightens him with his powerful breath. The healing power of his ancestors comes from the center of his being through his mouth, and takes the form of a human face. 71
Detail
Return to Aztlan - Posada, 2013, Linoleum cut and watercolor, 21 x 54 inches 72
Self-Portrait, 2021, Linoleum cut, 30 x 22 inches 73
Spiral Fountain, 2021, Ceramic with underglaze, 9 x 7 x 7 inches, Side A 74
Spiral Fountain, 2021, Ceramic with underglaze, 9 x 7 x 7 inches, Side B 75
Spiritual Dance, 2001, Reduction linoleum cut, 30 x 22 inches 76
Square Fountain, 2020, Glazed ceramic, 8 x 3.5 x 3.5 inches 77
Sueño florido (flowery dream), 2020, Linoleum cut, 22 x 30 inches During this time period (2020) of unprecedented experiences in our lifetime, like many other artists I have tried to reflect and respond through my graphic images. I created three prints in response to those experiences to create a snapshot of societal aspects that have worried me. One of these prints deals with the fact that so many Latinos, in particular Mexican like myself, have been disproportionally affected in Chicago by covid-19 and yet they are standing and surviving this onslaught. The print of “flowery dream” evokes the same idea of resilience and survival from an earthy and spiritual sense. A face nurtured by the earth grows and awakes from some bad dream and becomes conscious. There is a sense of strength and quietness within the face, which symbolizes humankind. 78
Theatrical Royalty #6, 2016, Collage, 30 x 22 inches 79
Whiting, Indiana II
2020, Linoleum cut 22 x 15 inches This print captures the repercussions of pollution emanating from the town Whiting in the state of Indiana. It is home of a BP refinery that pollutes the air near Chicago and the water in Lake Michigan. I placed a Mexican boy seating at the center wearing a death mask to symbolize the effects on innocent people while skeletons lure on the background.
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Xolo, 2017, Ceramic and acrylic, 10 x 7 x 9 inches 81
Xolo, 2017, Ceramic and acrylic, 10 x 7 x 9 inches, Side View 82
CATALOGUE OF EXHIBITION José Armando Arceo
Graphite 14.5 x 12 inches
Acrylic on woodcut cutout 33 x 30.5 x 1.5 inches
Bajo el Mismo Cielo - Reunido en el Arco, 2020
B for Barber, 2021
Crow, 2021
Paint, collage, mixed media 84 x 24 x 3 inches
Mouse Trap, 2020
Chicago Disfrasismo, 2020 Woodblock print on dyed paper 18 x 11 inches
Linoleum cut 12 x 12 inches Ink on paper 6 x 8 inches
We Must Fight for All Black Lives, 2020 Screen print 18 x 12 inches
Rise Battle, 2021
Spray paint and acrylic on canvas 48 x 24 x 1.5 inches
Painted Pig for Pleasure, 2020 Acrylic 22 x 15 inches
Rise, 2021
Linoleum cut 11 x 8.5 inches
Te Extraño y Soy Terco, 2020 Ink and acrylic on paper bag 16.25 x 4.5 inches
Rise, 2021
Spray paint and acrylic on canvas 48 x 24 x .75 inches
Aztec in the Fourth World, 2020 Ink and acrylic 7 x 11 inches
Space Wood, 2021
Spray paint and acrylic on canvas 48 x 36 x 1.75 inches
The Spirit of Sweat, 2020 Sumi ink on envelope 6 x 10.5 inches
Tools, 2021
Linoleum cut 11 x 8.5 inches
Doppelganger Devils, 2020 Ink, acrylic and color pencil 8 x 11 inches
Welcome Race Fans, 2019
Spray paint and acrylic on canvas 48 x 24 x 1.5 inches
Losing You, 2020 Ink and collage 9.5 x 14.5 inches
Winter and Spring Deity Impersonation, 2021
Atlan Arceo-Witzl
Ink and acrylic 9.5 x 14.5 inches
We’re in This Together?, 2021 Acrylic 9.5 x 5.75 inches
Guts ‘n’ Glory, 2021
Where is Justice? (Adam Toledo), 2021
Ink and acrylic 14.5 x 9.5 inches
Self-Portrait Without Words, 2021
Produce, 2020 Ink, acrylic and pen 3.5 x 11 inches
Ink and acrylic 19 x 16 inches
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Yonder It Is, 2019
Cylinder, 2021 Ceramic with underglaze 8.5 x 8 x 8 inches
Present Moment Surplus, 2019 Pen, acrylic and stamps 13.5 x 9 inches
Elegant Shoe, 2021 Self-drying clay and acrylic 5 x 7 x 3 inches
What is?, 2019 Pen, acrylic and stamps 13.5 x 9 inches
Housing is a Right, 2019 Linoleum cut and watercolor 22 x 30 inches
Information Age, 2019 Cardboard, acrylic and collage 4.75 x 4.25 x 4.25 inches
Lilibeth, 2015
Woodcut 22 x 26 inches
Does It Weight on You?, 2019
Lincoln, 2019
Pen and acrylic 17.75 x 14.5 inches
Cardboard, collage and acrylic 5 x 4.25 x 4.25 inches
Linoleum cut 35 x 28 inches
Guy with Fish Hat, 2018 Colored pencil, collage and stamps 13 x 5 inches
Magician, 2021 Linoleum cut and watercolor 22 x 30 inches
Comunicación Mictlan: Bienvenido a la Siguiente Vida!, 2018
Monarca sobre Chicago (Monarch above Chicago), 2018
René Arceo
Moon Story, 2021 Ceramic with underglaze 9.5 x 5.5 x 4 inches
Mixed media 13 x 16 x 11.25 inches
Linoleum cut and watercolor 20 x 15 inches
Armchair, 2021 Ceramic with underglaze 7 x 5.5 x 4.5 inches
Murcielago-virus (Bat-virus), 2020 Woodcut and linoleum cut 30 x 22 inches
Caballo desbocado, 2019 Linoleum cut 30 x 22 inches
Pecse Movimiento (Pecse movement), 2012 Reduction linoleum cut 22 x 30 inches
Calavera embelleciendose (skeleton beautifying herself), 2015 Reduction linoleum cut 22 x 30 inches
Pompous Fool, 2019 Linoleum cut and watercolor 11 x 15 inches
Corona-virus, 2020 Self-drying clay and acrylic 10 x 8 x 6 inches
Return to Aztlan - Posada, 2013
Cortez, a 10 años II (Cortez, ten years ago II), 2015
Self-Portrait, 2021
Linoleum cut and watercolor 21 x 54 inches
Woodcut 15 x 11 inches
Linoleum cut 30 x 22 inches
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Spiral Fountain, 2021 Ceramic with underglaze 9 x 7 x 7 inches Spiritual Dance, 2001 Reduction linoleum cut 30 x 22 inches
Square Fountain, 2020 Galzed ceramic 8 x 3.5 x 3.5 inches
Sueño florido (flowery dream), 2020 Linoleum cut 22 x 30 inches
Theatrical Royalty #6, 2016 Collage 30 x 22 inches
Whiting, Indiana II, 2020 Linoleum cut 22 x 15 inches
Xolo, 2017 Ceramic and acrylic 10 x 7 x 9 inches
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