Taller Puertorriqueño
2600 N. 5TH STREET, PHILADELPHIA, PA 19133
Patrick McGrath Muñiz: Arcanas
Neocolonial Retablos inspired after Tarot
ON VIEW: AUGUST 11, 2023 - OCTOBER 21, 2023
OPENING RECEPTION:
SEPTEMBER 15, 2023 | 6:00 - 9:00PM
Renowned artist Patrick McGrath Muñiz’s exhibition, Arcanas: Neocolonial Retablos Inspired by Tarot, is his first exhibition at Taller Puertorriqueño. Curated by Daniel de Jesús, this show features 30 new artworks.
By commandeering figures and icons from the tarot, Spanish colonial iconography, and pop culture, the artist recreates scenes that mirror his experience living in a world impacted by the onslaught of digital communication and information, climate change, social inequality, and the global pandemic. After losing his home and studio in Puerto Rico in the aftermath of Hurricane Maria in 2017, the issue of climate change became even more personal for McGrath Muñiz. Among the very few possessions the artist could salvage before the storm, there was a 30-year-old deck of tarot cards, which later inspired him to create his first deck of cards. The incredible loss of years of work and memories imbued the artist with a renewed sense of responsibility to retell our current global paradigm not only through new drawings, paintings, and altarpieces but also in the form of tarot cards now published by US games.
McGrath Muñiz’s distinctive style seamlessly blends bicultural and bilingual consumerist imagery with his signature Baroque-inspired painting technique. By visualizing our world in the Digital Age, he encourages viewers to explore the roots of our colonial past and gain a deeper understanding of how it shapes our present and future.
“WE LIVE IN A WORLD INFLUENCED BY TRADITION AND INNOVATION,” SAYS MCGRATH MUÑIZ. “ THROUGH MY ART, I AIM TO BRIDGE THE GAP BETWEEN THE PAST AND THE PRESENT, INVITING VIEWERS TO REFLECT ON THE INFLUENCES THAT SHAPE OUR LIVES AND THE NARRATIVES THAT DEFINE US.”
Known as El Corazón Cultural del Barrio, Taller Puertorriqueño is a community-based cultural organization that uses art to promote development within its community and the Latinx Diaspora and build bridges to the Greater Philadelphia region.
About the Curator:
Daniel de Jesús is a Philadelphia, PA-based curator, artist, musician, and educator. Over the last 15 years, de Jesús has organized and installed exhibitions of Latinx artists living and working in Philadelphia and Puerto Rico. From 2007–2011, they served as Taller Puertorriqueno’s Curator and Exhibitions Manager and, before transitioning to a new role as Taller’s Youth Artist Program Manager, they curated exhibitions featuring Juan Sanchez, Antonio Martorell, and Sofia Maldonado, among others. De Jesús currently serves as the Music Education & Community Relations Director for Artístas y Músicos Latinoamericanos at Esperanza, a Latin music school in the heart of North Philadelphia. They are a practicing multidisciplinary artist who works as a painter, composer, and songwriter versed in the worlds of visual and sonic tapestries.
Some consider the Fool from the Tarot as the key to understanding the whole deck. After all, he is numbered ‘0’, which places him at the very beginning of the journey. The Fool is basically a “nobody” belonging “nowhere” which gives him total freedom to write his own story and paint his own picture. The title of this piece carries a double meaning to it. NO MAD not only refers to the person who constantly migrates without having a home in one place, It is also a refusal to be labeled ‘MAD”. Often people misunderstand someone who thinks differently and are dismissed as ‘madmen’ by society. This large canvas is a final tribute and personal farewell to my friend, Cesar, who always was in search of of the unknown. His insatiable curiosity knew no home other than to walk and discover. Often misunderstood by most people, just because he asked too many questions. The red lantern he carries, a symbol of light, pushes the darkness aside and illuminates the path towards wisdom. He is accompanied by a dog, a lamb and a cock. These act like guiding spirits and represent loyalty, innocence and passion. These companions also embody qualities present in my friend. The winding path leads him back to his home. A white rabbit leads the way ‘down the rabbit hole”. In the background we see an airplane leaving chemical trails, a UFO and a flying pig as well as other obscure characters. These allude to conspiracy theories, superstitions and things considered implausible to most. The house paints and brushes on the foreground reflect on his vocation and walk of life. A hand from the sky holds a salt shaker and pours some of its contents over him. Back home we had an expression of ‘estar salao’ (being salted) which means to be ‘jinxed’. My friend really believed he was. With his self-deprecating humor like a skillful alchemist made any unfortunate event into the most interesting fun anecdotes.
At the bottom left side of the frame, a primitive man can be seen looking up while holding fire, reflective of the Greek myth of Prometheus. On the opposite side, we see a futuristic female android, holding a box, reflective of the myth of Pandora’s box. Next to them a pair of geese stand as symbols of providence and vigilance. A machete and a shovel can be seen above. These were tools my friend would often use to explore and discover hidden treasures. The Hanged Man and The World from Tarot iconography can also be seen in the painted frame. These refer to the middle and end of the ‘fool’s journey’. Some comparisons are drawn between my friend and figures from history with similar archetypal attributes. San Juan Diego, was a simple peasant and the first Catholic saint indigenous to the Americas who was once discriminated and a not believed for his visions of the Lady of Guadalupe. Diogenes, the Cynic renounced to a comfortable life in order to experience poverty. He toughen himself against nature and saw himself as a citizen of the world, claiming no allegiance to a country or place. The archetypes or the fool and the hermit often seem to overlap. Over them we see visual representations of the elements of fire and water. Under the figures, we see a blue pill and red pill, direct references from The Matrix film, in which the main character, Neo had to choose between staying asleep in a world of illusions or waking up to a harsh reality. The armed angels above point at each other and remind us of the expulsion of the Garden of Eden. Allusions to the Holy Trinity, life and death spread across the top of the frame. All of the symbols and Icons in NO MAD are a visual testament and homage to my best friend, the one who introduced me to Tarot, taught me to question everything and never stop searching for new mysteries to uncover.
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Epiphany is a festival commemorating the Three kings day on January 6, a well known celebration in Puerto Rico. It is also a term used when referring to the manifestation of the divine. The present painting is a personal interpretation on the theme of the Three Magi. My brother Michael, Cesar and myself posing as Caspar, Melchior and Balthazar, serve as a visual testament to our strong bonds of brotherhood. The walking staff, bell and lantern held by Cesar, depicted as Melchior in the middle, can be seen in The Hermit card of the Tarot. Cesar was in many ways a hermit and a guide. These objects are also associated with the Cynic philosopher Diogenes, who supposedly went carrying a staff and lantern during the day in search of an honest man. The bell and staff used to be in front of my studio door in Aguadilla. Cesar would always ring that bell when visiting me. The lantern we would use when going out and exploring nearby caves. The key hanging from his neck is the key to my studio, where he would live and take care of while I was away. He points towards the sky where we see a jelly fish like object floating in a starry sky. This was one of his many visions. My brother as Caspar holds a book, the one he is still writing, which tells of our adventures and stories growing up together. As Balthazar, I’m carrying a small dog. Yo-yo was our loyal companion and to this day a recurring pet character in my work. The houses behind are the places we grew up in. They represent origins and points of departure. A blue car and yellow digger below represent ‘progress’ and ‘moving forward’. They are also some of my earliest memories when we moved to the island and the road in front of our house was being converted into a main highway. An airplane taking off above represents our past dreams and aspirations. On the predella below we see four symbolic animals, which are astrological in nature but also represent the four evangelists. The bull is associated with St. Luke and the sign of Taurus. The lion is associated with St. Mark and the sign of Leo. The eagle is associated with St. John and the sign of Scorpio. The man is associated with St. Matthew and sign of Aquarius.
A white lamb below is inspired after the ‘Agnus Dei’ (Lamb of God) in Christian Iconography. It is accompanied by the signs of Aquarius and Cancer, which describe aspects of the characters above. Two pillars sustain a frieze containing two howling dogs with long tails. These are associated with the Moon and appear in The Moon card of the Tarot. They are also linked to the water sign of Cancer. On the pediment above an open serene eye floats within thinly drawn Alpha and Omega (beginning and end) symbols. These are surrounded by the Sun, Moon and stars, heavenly bodies that transcend the material corporeal world below. Two small pillars frame a golden coin containing the Sacred Heart of Jesus. The white dove above, symbolizes the Holy Ghost. With the all seeing eye above, they become allegories to the Holy Trinity, reverberating in abstracted form from the souls of the literal figures on the terrestrial plane below. The gold and turquoise extended wings derive from ancient Egyptian art. They represent the goddess Isis protective wings and her magical ability to resurrect the dead. The VHS and audio cassettes are reminiscent of the past and recorded memories. Epifania is a painting about resurrecting past memoirs and keeping them alive through the magical act of art. It is about finding deeper connections with the divine and how it can manifest in our daily experiences while honoring the memory of those who are no longer with us in the flesh but transcend to a higher spiritual realm to guide us.
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El Profeta is a tribute to my dear friend Cesar Villanueva Cordero, who passed unto a better life beyond the terrestrial plane in 2020. Cesar was not only my best friend since childhood, he was a mentor and an inspiration for me as an artist. He was a muralist, sign painter and commercial artist that had the magic of making you laugh really hard with his simple cartoons. He also gave me my first job painting murals and was one of the first to encourage me to make a living as an artist. He was like a brother to us and an adopted son to my mother. In this painting he is depicted carrying a Bible and an envelope with the church tithe. Cesar came out of Pentecostalism and used to visit other churches, constantly challenging other people’s views on religion. His irreverent self deprecating and satirical sense of humor and imagination were quite unique. His curiosity and incessant search for mysteries and the unknown had him digging up holes in the ground, exploring the deepest caves and star gazing for hours. His stories and time we spent together in these little adventures definitely had an impact on my art. He introduced me to the Tarot 30 years ago and upon reflection I feel he embodied the first card The Fool . In el barrio, they used to call him ‘El Loco’ because he used to talk about and do things no one else cared for or even dared to. Cesar was drawn to the unknown like no other person I’ve known in my life. He questioned everything and at the same time took nothing seriously. In later years, he became obsessed with U.F.O sightings. On the dark background we can see a multitude of U.F.O.s derived from his digital creations. Depicted low near the horizon, an old abandoned sugar cane dock known in our hometown of Aguadilla as el ‘muelle de azucar’ used to be one of our favorite hangout spots. It required real courage to cross it and very few people did. The Tarot card on the upper right corner is that of El Loco and it reads: ‘Me llaman’ (They call me). Given the cosmic dimension portrayed of this piece, it carries a double meaning. For one it can be understood as a calling. It can also be read all together as: ‘Me llaman el loco’ (They call me crazy).
El Profeta is simple visual eulogy to someone who taught me a great deal in life and in art. He was also my very first model. A similar drawing and similar painting I did of him in 1999 won 2 UNESCO medals and first place for drawing and first place for painting at the Dia Nacional del Artista Pintor held in P.R. 24 years ago. This represented my first step into becoming a professional artist and making art for a living. To this day, my brother and I still call him a prophet for his teachings, magical beliefs and visions of the future, We are eternally grateful to him for sticking around during a time and place that would have driven either of us insane if it weren’t for his loving presence. He continues to live on in our stories, paintings and hearts.
We shall meet again...
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The figure of ‘the Devil’ has always intrigued me as a painter. I remember my brother and Cesar talking much about this prince of darkness after coming back from the church sermon. After so much talk, it almost became a satirical motif to question the fear tactics used within the Christian tradition. There’s always the question whether to depict him as an ugly and terrifying horned beast or a young beautiful attractive fallen angel. I’ve always appreciated artists different visions on the subject, from Hieronimus Bosch to Alexandre Cabanel. In my version, El Nuevo Idolo a Promethean savior figure holds a flamed torch on one hand and holds up a small mobile device on the other. Like Prometheus, Quetzacoatl and many other world deities, Lucifer was initially considered as a ‘bringer of light’ and civilizing figure. On the screen we see the astrological symbol or Pluto, the planet of wealth, power, the unseen, death, resurrection and rebirth. The figure depicted on this piece is directly inspired after the painting “Resurrection or Christ” by El Greco. With this context in mind, one could even consider this to be an ‘Anti-Christ’ figure. Extending his dark wings and wearing a ‘Christ-like’ mask, this “new idol” shows us a world driven by ‘progress’, conquest and wars, symbolized by the bulldozer, Spanish caravel and military tank beneath him. The natural world is set on fire in name of profit and gallivanting self indulgence. The human fictions of old religions and modern corporations are insinuated in the dark ash clouds. This dual nature of past and present fictions is continued in the form of the two serpent tattoos on the masked ‘light bringer’s’ thighs. Deceivingly this ‘new idol’ is not the idol himself but rather the presenter of the actual idol in the form of a small mobile electronic device. The black rectangle he hovers over reminds us of a tomb but is inspired after the tall black obelisk presented in Stanley Kubrik’s classic film 2001: A Space Odyssey. In the film it is hinted that this cold imposing vertical object of unknown origin triggered a shock reaction in our primitive ancestors minds and evolution that led them from tool making, to wars and eventually to space exploration.
The black obelisk continues in the predella below with a set of cascading green fonts in allusion to the (1999) film The Matrix by the Washowski’s. The concept of living in a simulated world was first brought up by Jean Baudrillard in his book Simulacra and Simulation. Side by side, a man and a woman glued to their phones can be seen at the bottom, echoing the idea of being under the spell and illusion of artificially created ‘realities’. Our human addictions and distractions have created indifference, discontent and a general lack of empathy. The devil operates like the mainstream mass media apparatus, luring us with the objects of our desires and escapism while the world burns to the ground. This is a major force that is as much about inaction as it is about giving in and losing oneself to materialism and the pleasures of the flesh. It represents the enslavement to baser instincts and the negative side of the libido. As Jung’s Shadow archetype, It is also speaks of the temptation of going against one’s own moral principles due to confusion, chaos and an unclear sense of purpose. Big tech industries with its use of complex algorithms have played a major role in this deceitful operation. By stimulating division, they weaponize our own fears and desires, while selling our data and our souls in the process. Just like the people seeing their own shadows in Plato’s allegory of the cave, we must find a way to wake up, get up and see the light outside of our algorithm-induced online bubbles.
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Inspired after the image of Immaculate Conception, so popular in Spanish Art, Holier than Thou comments on the ‘virtue signaling’ and sacred aura adopted by multimillion dollar corporations in order to pretend and convince us they are on ‘our side’. These untouchable entities preach and spread the message of ‘diversity and ‘representation’ through their extended advertisements and products, while opening sweat shops in Asia, underpaying their employees, exploiting resources and polluting the planet remorselessly. By transforming and manipulating imagery and ideas in our new cultural landscape, these modern day monolithic enterprises influence our ideological perceptions so we see them in a much favorable light. In this painting we see a central ‘Marian’ figure holding a tall cup with a star logo that resembles a well known coffeehouse chain. From Macy’s to Texaco, the star logo has symbolic cultural implications that resonate with subconscious minds. The star symbolizes, hope, aspirations and divine guidance. In Christian iconography it is the symbol of the Virgin Mary, who is sometimes referred by the title of ‘Stella Maris’, Star of the Sea. Like the globalized distribution of famous brands, the image of the Virgin Mary pervaded the minds, souls and hearts of entire cultures since the European colonization of the Americas. The Immaculate Conception is one of the Marian dogmas from the Catholic Church that regarded Mary as being free of original sin since conception. In Spanish Art she is seen with a crown of twelve stars and standing on an orb with a threatening serpent or dragon at her feet. She is usually in a tranquil praying posture and usually with angels in attendance. In this version, she inadvertently becomes inspiration for the ‘Corporatocracy’, in order to carry out their hypocrisy agenda with ‘cosmetic’ inclusivity, just like so many other images and ideas in history. The coastal landscape in the background shows a Spanish Caravel about to be welcomed by a group of Taino indians boarding a canoe. Like the well intended indigenous peoples of the New World, “conscious driven’ consumers open their arms to their new corporate overlords.
With the closed doors, we see a set of six images on monochromatic display. There are two satellite dishes along with the image of the Eucharist from Catholic Mass held by two hands and a sword-like communications tower wielded on a third hand. These visual metaphors represent the power and influence of the mainstream mass media manufacturing passivity and consent. Like deceitful sirens, they appropriate our fears and desires expressed through our ideologies, mimic, regurgitate and chant bastardized versions of the things we care about in order to lure us into their side, The images below, a double tailed mermaid like the mythic Melusina rises from the waters and pours milk out from her breasts in into the water. Around her 8 bright stars, including the morning of star of Bethlehem shimmer in the sky. Right next to her we find a representation of Stella Maris, the Star of the Sea. Beyond the mass deception, we may still be able to recognize our guide to a higher level of spiritual consciousness and social awareness. This piece is a commentary on the religion of ‘Woke Capitalism’ and its deceiving image and sermon. The colonial strategy of ‘Divide and Conquer’ have been replaced by the Neo-colonial tactics of ‘Divive and Distract’. Through the use of complex social network algorithms, ‘click & bait’ tactics, they are able to identify who we are, selling our data and selling us their products with targeted ads that reinforce our confirmation biases and polarize us even further.
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An angel above on a cloud in the sky holds a loud speaker, instead of a trumpet, looks down at a boat crewed by survivors in a flooded Houston highway scene. The waters are filled with bottles, cans and cars. Some domestic and wild animals show up as well. This image is inspired after the book of Revelations and the image of The Last Judgment found in the Arcana XX. But instead of the dead rising from their graves as traditionally depicted on this image we have a suburban landscape populated by a diverse group of people that also serve as allegorical figures to our human history and Western civilization in general. The obvious apocalyptic nature of this image cannot be ignored but there are more hidden messages to be found. The commercial advertisement around them offers a some irony to the scene. Some of the survivors are in awe, others are in despair, others are distracted, while others simply pray.
On the side wings there are references to other archetypal figures found elsewhere in the Tarot. A robbed hermit monk holds a lantern while walking through a mountanous terrain. A full Moon becomes a halo around the hermit’s hood. Inspired after Christian depictions of St. Anthony Abbot, a loyal pig walks beside him. The Hermit with his pig reminds us of the initial ‘Fool’ with his dog setting up for his journey. The hermit can be seen as a fool who has matured with age and experience. He has attained self-discipline, restraint and inner wisdom. On the opposite side, a winged pregnant woman holds a spinning wheel. An abundant cornucopia lies at her feet. She is the goddess Fortuna, a personifcation of The Wheel of Fortune. A shooting star represents our hopes, wishes and aspirations. Once the triptych closes, we see two hands holding two fingers in a blessing gesture. One represents life with flames of fire coming it’s fingertips hinting at the presence of God. A banner with a Latin inscription reading ‘Imaginatio’ (Imagination) To the far left we see the astrological sign of Uranus, the planet of youth and revolutions. We also see a skeleton hand from which a violet flame is ignited, representing spirit and transmutation. A banner can be seen with another inscription that reads: ‘Memoria’. The astrological sign of Saturn can be seen on the far right.This is the planet of old age, decay and maturity.
La Apocalyptica besides presenting an image of final resolution and a day of reckoning, it also implies a symbolic awakening, resurrection and liberation. It also makes us reflect on our historic fascination with fatalistic Apocalyptic visions and our current mind numbing ‘doomscrolling’ habits. These ultimately drive our culture towards an insanely pessimistic view of the future. By giving up to despair, the media conglomerates and multimillion dollar corporations get a golden opportunity to sell us their escapist products, stories and lifestyles. The scene on this triptych can be interpreted as old paradigms and unresolved issues resurfaccing and having to be dealt with. It is time to wake up once and for all. Instead of being mesmerized and seduced by the gospel and ‘social justice’ scams preached by Corporate America, it’s time we look at ourselves in the mirror and see the things that bring us together as humans. We are all in the same boat Our actions or inactions may have great reverbarations for ages to come.
closed view of La
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Growing up in Puerto Rico I remember often visiting a local botanica and admiring the beautiful image of Santa Barbara, which in Santeria is also known as Changó. I kept a card of the saint with me at all times without fully understanding why. Santa Barbara is a popular image throughout the Americas. She was an early Christian martyr who died defending her faith and defying the will of her father and the authorities. She is often depicted holding a sword, a chalice, a palm branch or a miniature tower. La Santa de Copa y Espada is a play on words. In Spanish there is a popular saying: ‘Defender algo a capa y espada’ which would roughly translate as defending something in ‘cloak-and-dagger play’ or defending in a ‘swashbuckling’ manner. In this case, the cape is replaced by a cup. The sword is the nowhere to be seen because it is not literal but rather metaphorical in nature. The central figure of Santa Barbara can be seen holding a ‘selfie’ stick with a mobile phone instead of the expected sword and on her sword belt and holster, there is a computer keyboard. This idea comes from the modern day expression of ‘keyboard warrior’, a person who aggressively posts on social media, sometimes calling for social justice while regularly concealing their true identity. Like a ‘Twitter bubble,’ a brand new Eucharist emerges from her cup with old social media logos on it. In the background a tower is struck by lighting and it’s top blown up, evoking the image from The Tower in the Tarot. The tower from a Freudian perspective is a phallic symbol that also stands for the Patriarchy. The garritas or watchtowers are derived from colonial architecture found in San Felipe del Morro in Old San Juan, PR. Resembling male genitalia, they seem like perfect emblems of our colonial past. Santa Barbara is one of the few instances in Christian Art where we find a strong female figure that in modern eyes could understandably be seen as an SJW (Social Justice Warrior). At her feet, we see old cannons on wheels and African and Indigenous masks, reminding us of the conquest and colonization of the New World but also alluding to hidden or deceiving identities in the digital social media environment. A helicopter lighting the waters in the background symbolizes the ‘search for truth’. Two angels on each side of the wings represent opposing ideological views. They hold on to their guns and phones while being led by their own beliefs, which they call ‘own truths’. They are accompanied by imaginary creatures, a flying pig and a winged unicorn. Each angel claiming to be on the side of truth seems oblivious to their own myths and stories.
When the triptych is closed we see two monochromatic images that reference the Ace of swords and Ace of Cups from the Tarot. Under the sword bearing hand there’s an inscription that reads: “Wield me”. This is obviously a call to arms. Under the chalice bearing hand, the inscription reads: “Drink me”. The message is complete once we read what’s on the chalice. In a reference to the ‘Jonestown incident’ from 1968, It is a call to be blindly indoctrinated and die for the cause. The corporate logos above play on the words ‘woke’ and ‘fk’ (f*ck). ‘Wokeness’ is the new religion that disguises itself in sainthood clothing, snuffing out dissent while making sure the faithful adhere to its ideological orthodoxy. This is a piece about misguided ideological battles in the age of social media and identity politics. What we often forget is how much we are being influenced and manipulated by the algorithms, the media and corporations, pushing us to identify with X or Y group in order to sell our data so they can sell us more products. It is a neo-colonial strategy of ‘Divide and Distract’. This is a call to break free from labels, tribes and ‘ideological Babel towers’. There is much more that should unite us rather than to divide us.
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In a coastal landscape, a ‘Marian’ figure dressed in white stands on a crecent Moon. She holds a couple of mobile phones that resemble scapularies and a pair of fetters with the letters ₿ and $, monetary fictions that have shaped our paradigmatic world. The image is inspired after Our Lady Of Mercy in Spanish Colonial Iconography. She also reminds us of Yemaya, the Afro Caribbean Orisha of the Sea. But the syncretism in this ocasion has been recontextualized in light of the present culture wars. Modern day corporations have played a quasi religious role in the neo-colonial strategy of “Divide and Distract”. As with the Star, this is also a archetype defined by dualities. These could be past or present, tradition or progress, but they can also be illusory binary choices. The Moon, associated with the rising tides, initiates a rise in tensions driven by feelings. The monks holding on to their phones in white robes kneel worship and submit to her presence, either by religious devotion or fear to be called out and be ‘cancelled’. A ritualistic excommunication is in store if you’re not on board with its dogmatic beliefs. These tech inquisitors have found a renewed obsession with guilt, shame and ‘inherited original sins’, which have taken hold of our cultural landscape. A new religion emerges with the angelical banners of ‘Diversity & Inclusion’ all in the name of corporate profit. Social justice and identity politics have been appropriated, distilled and rebranded by large transnational corporations in order to serve their own purposes. In a sacred guise, they present themselves as our holy redeemers in our unquestioned cult of capital.
In the water below, we see an abandoned Sugar cane dock, Spanish Caravel, Oil rig and space shuttle, symbols of past and present forms of colonialism. The misile warheads and broken obelisks at her feet denote a collapse of Phallic driven empires. But is it collapsing? Another angel carries a red banner that reads “$ubmit to our useful delusions” . Within a golden Mandorla, a child wearing a mask and holding a mobile phone makes a blessing gesture with his right hand. A new dogma for a new generation is here to make us believe there has been a systematic change and replacement of old power structures. Cosmetic solutions with skin deep symbols of diversity keep the most rebellious consumers in complacent passivity. In a dreamlike state, the Lunar subconscious illusions take over our perceptions In our own little echo chambers as well as in an increasingly polarized world. It is becoming harder to distinguish and separate fact from fiction. And every purchase now looks like a political endorsement stirring the waters of social dissent This is precisely the kind of waters in which The Moon navigates in.
When doors are closed, we find the astrological signs of Neptune and Pluto. Neptune in astrology is the planet of illusions and addictions while Pluto corresponds to money and power. Under the sign of Neptune a hand holds an hypnotizing mobile phone. Under the sign of Pluto, another hand grabs a dollar bill. Below, BIPOC hands raise their fists in allusion to the many revolutions thorough modern history. Right next to them a business man’s hand checks a box. Real intellectual diversity and creative individuality are sacrificed in the altars of Capital under the banners of the ‘Church of Diversity’. Tokenism is the corporate ‘color by numbers’ of our time. Like the rising A.I., they are solely driven by cold numbers and profits. This triptych painting relates to perceived experiences that have a strong emotional drive and are are used in order to manipulate, divide and deceive us. Like lunatics we may be under the influence unseen forces that feed upon our fears while driving more division among ourselves.
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closed view of Our Holy Woke Lady of Dreams and Delusions
Desencuentros is a commentary on the colonial roots of our current neo-colonial consumer society. In the central plate of this triptych we see a figure resembling Christopher Colombus setting foot on the ‘new continent’. He encounters a young native who is about to up from her hammock. This image is inspired by an engraving by Theodor Galle after a 16th century drawing by Stradanus titled “Amerigo Vespucci awakens the New World”. The allegorical image speaks volumes of how Europeans at the time saw the New Continent personified by a young vulnerable woman. The European invader holds a staff on his right hand while holding up a statue of a Madonna and child with his left hand. In the sky behind, we find a formation of clouds reminding us of a well known corporate mascot, who echoes the indoctrination device at hand. The young native holds a card up to the intruder as a response to the imposing act of religious proselytism. Some cowry shells lie at her feet. Cowries and Tarot are not just used for divination purposes. They are also part of alternative spiritual practices counter to the mainstream Christian tradition, which has for the most part supported the status quo in the New World. This encounter occurs at the golden hour to symbolize the meeting of opposites of day and night and the historical transition into a Global age. For good or ill, this unintended new “Adam and Eve” will become the forefathers of new nations. Right behind the European explorer we see a skeleton figure and a dark sea serpent in the nearby waters, signifying death and unforeseen terrors.
On the plate to the left, a Puerto Rican jibaro carrying a bindle and garden hoe, symbolic implements evocative of a forgotten past. A cocolia (Atlantic blue crab) and a machete are seen on the ground next to an old TV set. They are also symbols of our relationship with the past and the natural world. The sad and tired jibaro looks back at us before prepares for his forced departure. His image is inspired after my friend, Cesar, who saw himself leaving everything he loved behind in order to pursue a ‘better life’ in the continent. The landscape is derived from my own memories living in Aguada and Aguadilla.
On the plate to the right, two distracted hold on to their tech devices. Living in a ‘Tik Tok content creator’ society, we seem ensnared by an intensely self-absorbed and narcissistic generation fixated on its own juvenile feelings of identitarian inadequacy. A now extinct Dodo bird shows up unexpectedly, reminding us of the fragility of our own existence. In the background a pair of pigs are introduced into the already spoiled beach. A mermaid emerges from the waters echoing the pose of the child standing in front. She seems to be waving a final farewell at us, as beauty, magic and nature are about to be colonized in the name of progress. Three different hearts can be seen on the trees depicted on each plate. They are evocative of The Lovers card but also the Three of swords from the Tarot which often presents a heart pierced by three swords, signifying deception, disruption and disenchantment. Above them, the astrological signs of Saturn, Uranus and Neptune reveal hidden aspects of our times. Six grey areas between the plates hint at five major extinction events and a sixth that may occur if humanity doesn’t adapt. The narrative here is one of an uneven relationship with winners and losers. But history is not black and white and is a lot more complicated. Desencuentros is a piece about the Columbian Exchange with its perils, myths, allegorical ages and unintended consequences.
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Just as in the original card from my Tarot Neo-Colonial de las Americas, La Emperatriz is seen holding an ice-cream cone while petting a cow calf. The cow is traditionally associated with feminine lunar deities, nutrition and the productive power of the Earth. The Empress like Mother Earth is the fruitful matriarch that sustains, making her not just desirable but also potentially terrible for her position of power to give and also take away. On the back of her throne, a pair of arches reminiscent to a well known logo of a fast food franchise, also stands for the letter M for Mater (Mother/Mère/Madre). Driven by comfort and the pleasure principle, she has her mobile phone by her side as well as shopping bags on the floor. A Walmart store can be seen in the background hinting at the possibility of overindulgence through mindless consumerism. Above her, images of the Sun, Moon, an UFO, rocket ship, star and Milky way allude to the mystery and beauty of the Cosmos, which, like the embodied archetype below, we barely come to know and understand. Perhaps in order to fully comprehend this all encompassing archetype, we must experience it non verbally, through our own bodies, either as nurturing mothers or nurtured children. But regardless of who we are, the Empress invites us to step into fertile ground, be open to change, growth and enjoy the beautiful things in life. She may also become a muse and inspires us to be creative and deeply intuitive. This is a woman in the highest position of power and a mother-figure who can inspire love and devotion but also fear and intimidation. La Emperatriz reminds us of the deep mysterious and magical connection between the mother archetype and the Universe itself.
La Emperatriz, 2022, oil and gold leaf on panel, 20” x 12”
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When in going around a subject and not arriving at a conclusion or taking a decision, there is a common saying in Spanish: Darle vuelta a la noria’ which roughly translates as ‘beat around the bush’ but quite literally means to ride on a Ferris wheel. A type of Ferris wheel is found in the Arcana X: the Wheel of Fortune and it shows us the ever changing nature of fate. This was a well known allegory in Renaissance art showing how men and civilizations throughout life and history rise and fall. Hence the meaning of this painting just like the card it’s inspired after, is multifold . An android ascends the wheel with a banner and inscription in Spanish that reads ‘Pronto Reinaré’ (I will reign). This refers to the growing threat, power and influence of A.I. and automation in the world economy. On top of the wheel, a winged sphinx sits while holding a coin with the Bitcoin and dollar signs between its lion claws. The head of the sphinx is crowned with a pair of mouse ears alluding to the present ruling ‘Corporatocracy’ and Capital. The inscription on the banner reads: ‘Reino x ahora’ (I Reign for now). Modern day corporations do seem to be on top of the political and economic food chain but they are not everlasting. Descending the wheel head-first and losing his crown is a man in colonial attire. His inscription reads: ‘Ya Reiné” (“I have reigned”). The man represents past governments since colonial times. At the bottom, an Altas-like paleolithic man holds up the wheel on his back. The inscription on the black banner below reads: ‘Ya no Reino’ (‘I no longer reign’). He kneels between two skulls belonging to two different species of animals, one already extinct, the other one of the most successful species in numbers but also one of the most miserable. We are reminded of the extinct Neanderthal man and all vanquished primitive societies. The four figures represent the four stages in human civilization but also the four stages in life. The black, white, yellow and red correspond to the four stages in alchemy; Nigredo, Albedo, Citrinitas and Rubedo. Every beginning has its end. Everything that goes up must come down. The industrial buildings in the background are inspired after sugar refineries in places I’ve lived; Aguada, Puerto Rico and Sugar Land, Texas. They are remnants from an almost forgotten industrial era in our hemisphere. Two signs can be seen in front of the buildings. They read: “Exit now” and “Extinct soon”. The astrological signs around the hub and between the spokes of the wheel remind us of the unseen cosmic influences that correlate with the passing of time. They are also reflections of the Western inherited fictions and belief systems we still hold on to. Despite the ominous depiction on this piece we should also consider the possibility of better times ahead of us. Change is inevitable. It may work in our favor, but not always. As with a card reading, we should always be prepared for the turning of the wheel and be mindful that everything in life is transitory. A Stoic attitude and cautious optimism is advised. Fortuna was the Roman Goddess of Fortune, both feared and propitiated, her presence persisted right though the Middle Ages and into the Renaissance. She as as much revered as she was feared. This is an image about the karmic forces in nature and the ever in motion cycle of life. The core concepts behind this piece are in part inspired after reading Yuval Noah Harari’s book Sapiens, in which the author makes us rethink the way we view human history.
La Noria, 2023, oil on panel, 25.5” x 16” $4,600
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In the Five of Coins card created for the Tarot Neocolonial de las Americas I was inspired by the image of the beggars from the Rider-Waite tarot deck. In my card as well as in this piece, an old shirtless beggar holds a crutch and a walking stick with a bell. He is accompanied by two dogs. This old man walks in front of an advertising billboard displaying five large coins. Behind the billboard there is a landfill. The image of the old man with two dogs reminds us from the Catholic image of Saint Lazarus the Leper accompanied by two dogs that lick his wounds. Because of their watchfulness and fidelity, the dog has been accepted as a symbol of these virtues. St. Lazarus is very popular throughout Latin America and it comes directly from the parable of the poor beggar and the rich man from the Gospel of Luke (Luke 16:19-31). This is an image that connects spiritual wealth with physical poverty. Spiritual maturity if often gained in times of material hardship. I decided to combine these ideas with elements belonging to The Pope card in order to create a piece reflective not just of the archetype found in the Arcana V. but also on the nature of growing old and how our perspective of the world changes with age.
On the pinnacle above we see an emblematic symbol that resembles the Vatican seal with a pair of keys and a Papal tiara which resembles a phallic projectile. The keys traditionally represent the dominion over the spiritual and temporal realms. The shape cut into the keys is that of the Bitcoin and Dollar signs (₿ & $) signifying the inherited unquestioned fictions we hold on to. From all the stories that have come down to us through the ages, perhaps the one with the most pernicious effect on the planet in the long run has been our faith in money. The shirtless Lazarus in this piece ignores the capitalist creed in full display on the billboard and attends to other matters more basic and primal in life. For him, there is little or no difference between the ‘Holy capital’ above and the trash being dumped under it. He shows no interest for the broken phone on the ground either and finds more meaning in a simple bell. The ringing of the bell signifies a spiritual awakening. No longer swayed by the ‘doom scrolling’ or the ‘click and bait’ casino like addictive qualities of these little tech device, he turns to the simple things in life and having a direct experience with the world. Although austerity and simplicity are things we seldom associate with the figure of the Pope, Old age and proximity to our own mortality eventually reconfigures our priorities as human beings. Pope Francis rejection of all the pomp and protocol expected from his position of power is a perfect example of this stoic approach to life. Lazarus Senex is a piece about how our attitudes and ways of dealing with the world change as we learn to adapt and grow older.
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The card that follows is the High Priestess, also known as The Popess. In this piece, inspired directly after my version of the card in the Tarot Neocolonial de las Americas, she holds an open book that reads: “BELIEVE” Emphasis is placed on the “BE” & “LIE” within the word. A blue curtain with astrological symbols hangs behind her while some communication antennae point towards a space satellite above. This image reflects on the power of belief and alternative fictions that guide and inform us. They may be seen as ‘useful delusions’ to some. But within every belief, there may be some kernel of truth to be found as well as a lie, giving us a sense of ‘BE’ing and identity. The Caribbean Priestess looks straight at us letting us decide for ourselves what we will believe in. A helicopter in the distance lights up the coast, in search of illegal activities, perhaps? A UFO hovers on the opposite side. Both flying objects are reflective of our times navigating through the dark waters of conspiracy theories and fake news. A plugged mobile device can be seen at her feet next to water bottle, a sea shell, a cow skull and closed book. These all serve as symbols for contained truths, life and death. We currently live in a deeply immersive screen culture that incentivizes political division, hyped conspiracies and intense tribalism. Overwhelmed and oversaturated by data and information, our attention spans are dramatically decreased by the constant addictive use of digital slot machines. Like a Voodoo queen she encourages us to drop our screen addictions, digital devices, heal ourselves, listen to our guiding spirits and look deep within ourselves to find the answers we’re searching for.
La Papisa, 2022, oil and gold leaf on panel, 20” x 12” $3,300
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In the Aftermath of hurricane Maria passing over Puerto Rico, my mother was left without a home and I was left without a studio. On our trip to the island we went to mass and got a chance to talk with Father Fray Mario Rodriguez. I remember our conversation as we talked about art, politics and the unexpected awakening effects of Maria. Fray Mario sees Hurricane Maria in a more positive light, as a wakeup call and agent of positive change bringing the community together. This painting Maria was born from a reflection of that conversation. By appropriating the image of the Catholic Virgin Mary as an allegorical device and anthropomorphized form of Hurricane Maria, I aim at re-imagining recent events that have affected me on a personal level. Instead of imagining her as a terrible entity to fear, she has become a strong pregnant mother crowned as heavenly queen and firmly placed in the middle, signifying a new chapter and life waiting to be born. The golden cyclical shape Maria holds is echoed by similar shapes in her halo, symbolizing stronger super hurricanes to come. The halo around her is a golden Ouroboros serpent biting its own tail and symbolizes wholeness and the perpetual cycles of nature. It resembles the plumed serpent and Aztec creator deity Quetzacoatl, who is said to be the key connection between Sky and Earth.
Maria also holds two cards in her hand, one hidden and the other about to be revealed, a personal reflection on the unpredictable nature of climate and extreme weather events. The placement of the Major Arcana of the Tarot alludes to divination, which I cannot help but compare to the seemingly random and elusive paths of hurricanes, that become hard to predict even to expert meteorologists. The deck represented here is the IJJ Swiss Tarot and my very first Tarot deck I re-discovered in 2016 in my childhood home (depicted below). This deck was also the first deck published by Stuart Kaplan at. US Games in the 70’s. It was one of the very few items I was able to save from our destroyed home. After this I decided to create my own deck, The Tarot Neocolonial de las Americas, which was later published by US Games in 2021.
At the feet of Maria, three winged cherubs can be seen, hinting at corporate mascots, consumer culture and a prophetic vision of an upcoming pandemic with the face mask. This was painted one year before COVID-19 became a global pandemic. The crashed Toyota Yaris below is the car which my mother drove when she had the terrible accident in 2016, exactly a year before the hurricane. Her house is on the opposite side in the aftermath of the hurricane in 2017. 2016 and 2017 had brought upon us one disaster after another but we are grateful to be alive and have survived the ordeal. This painting contains one more personal narrative, the model for Maria, is my wife, Blanca. She is pregnant with our son, Francis, who was born nearly a year after Maria in 2018. This image is also related to the last Arcana from the Tarot. The World card is often equated as the Anima Mundi, or Spirit of the World. Whenever this card comes up, it represents achievement, glory and great reward. This is the card of completion of the long journey, conquest and victory. The Universe opens up and reveals her mysteries to those who seek and listen with reverence and intent. This is the highest aspiration, paradise found, the discovery of the Holy Grail and the coronation of the hero. Spirit, Body, Mind and Soul are finally aligned in perfect harmony. The inscription in the lower section of this painting is in Latin and reads: ‘SEMPER SOL LUCET POST TEMPESTATE’ (The Sun always shines after the storm).
Maria, 2019, oil and gold leaf on canvas, 72” x 48” $15,500
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The Hermit is an archetypal figure I personally identify with. Introspection is a piece inspired after such figure found in the Arcana IX and layered with personal symbols and stories. As implied by the title, I reflect on my own beliefs and inner struggles as an artist. Taking inspiration after Spanish painter Francisco Zurbaran and his use of the Memento Mori (remember you must die). This was a popular painting trope used during the Renaissance and Baroque. Usually depicting a human skull among other objects in still life or portraits of saints, Memento mori is a medieval Christian practice of reflection on mortality, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits. Zurbaran often depicted Saint Francis in a similar composition holding a skull, a sand clock and a Bible. Drawing the spectator closer to a mystical experience while being reminded of his/her own mortality. On this piece, we see the skull, a half eaten fruit and a small sand clock. The sand clock on the table is one of the very few items I was able to retrieve from the ruins of my childhood home in Aguadilla in the aftermath of hurricane Maria. It was that small timeless artifact that led me into deep introspection and eventually inspired me to paint this picture. Attention is brought to the Bible, which in this case is replaced by an artist journal where I’ve drawn and combined several figures from popular myths and legends. A gray alien, a goat-like Baphomet, another extraterrestrial with antennae, big foot, a ghost and a unicorn flying over a rainbow populate the page. A Babylonian Annunaki, a flying saucer, Jesus holding an assault gun and Santa Claus holding a Coke are seen on the next page. A man sitting and covering his face on the lower left side is a direct allusion to Francisco Goya’s engraving “El sueño de la razón produce monstruos” (The Sleep of reason produces monsters). The inscribed word “BELIEVE?” begs the question. Are all these ‘new monsters’ and fictions, diffused by the media, created by the dormant voice of reason (& science)? A toy truck and teddy bear hint at play and imagination. Three pearls sit on the ground and four pigs can be seen in the background. This alludes to a quotation from Matthew 7:6 in Jesus’ Sermon on the Mount: “Do not give what is holy to the dogs; nor cast your pearls before swine, lest they trample them under their feet, and turn and tear you in pieces.” The pigs in Christian art, have come to signify temptations in the form of sensuality and gluttony. Two flying pigs can be seen within the painted frame above. They are derived from the popular saying “When pigs can fly”, meaning something that is thought will never happen. The inscription below read in Latin: IGNORANTIA HOSTIS ARTIS (Ignorance is the enemy of art). Three black birds can be see flying above, an obvious reference to the Holy Trinity but also to the human soul. They are black grackles, migratory birds that can be found in Puerto Rico and Texas. The urban scenery places the narrative in time and space, specifically the view from my mother’s house and childhood home in the aftermath of hurricane Maria. Not long after the natural disaster, looters and robbers broke into the house, vandalized and stole belongings including artworks. Luckily my art journals survived both events and I was able to retrieve them. This is a piece about the things we hold on to from personal beliefs to books, art or other possessions and how they become all transient in the end. Still we hold on to what we can because this often gives our lives meaning and purpose. The hermit asks us to be mindful of our own mortality but also of our ignorance and personal attachments.
Introspection, 2019-2023, oil on canvas, 40” x 30” $7,800
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I painted this while visiting my mother in Puerto Rico in 2016. Little did I know this would be the last piece I ever created while I still had a studio in the island. Initially it started as a Memento Mori piece, reflecting on the fragility of life at a moment my mother was fighting for her life at an ICU after a terrible car accident. After the miracle of her incredible recovery, I decided to rework this piece in my studio in Texas and this is what it became. A sitting topless woman stares at us while holding a human skull and showing us a water tank. This is a modern representation of Demeter, the Great mother goddess of Agriculture from Greek mythology. The epithet Cthonia indicates a specific aspect of the deity, fixed to the ground and her dark under-worldly nature. A billboard behind her reading “100% NATURAL” denotes the ‘green washing’ aspects of corporate and consumer culture. Green washing is the practice of making an unsubstantiated or misleading claim about the environmental benefits of a product, service, technology or practice, making the company appear to be more environmentally friendly than it really is. Under the giant billboard we see a male and female figure walking away from a modern industrialized farm. The myth of the rape or abduction of Persephone, Demeter’s daughter by Hades, the god of Death and the underworld realm is not just connected with the ancient explanation the seasons but also with life, death and regeneration. On the scroll below, besides the title of the piece, two dates are written down: 10,000 BCE and 1968. These are dates correspond with the first agricultural revolution, also known as the Neolithic revolution and the green revolution that dramatically increased food production on an industrial scale through the use of chemical fertilizers and agro-chemicals. The consequences of both processes have been felt across the globe and in all ecosystems. Many extinct species, ocean dead zones, water pollution and habitat destruction are due in great part due to agro-business industrial practices. Animal skulls and coke bottles growing out of corn stalks can be found around the red and gold frame. The Tarot card floating on the sky is that of the Ace of Swords, which is often interpreted as the means for mental clarity and discernment, necessary qualities required for us to be able to see what’s really going on with our unregulated big agro-business practices. A matter of life and death hang in the balance as Demeter stares at us waiting for our response. With limited resources like water and soil, where are our current industrial scale agricultural practices taking us? What kind of planet of we leaving to our children with our current all devouring monoculture and oblivious consumer practices? But as with the Arcana XIII (Death card from the Tarot), Demeter Chtonia also invites us to reflect on time, change, transformation and death itself. But it also speaks to us of legacy and new beginnings. After the Great plague of 14th century Europe, the Renaissance made it’s entrance.
Demeter Chtonia, 2019, oil and metal leaf on canvas, 40” x 30”
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In Pater I was inspired by the paternal figure of Saint Joseph holding baby Jesus, which is a recurring subject matter in Spanish Colonial Art. In this iteration of the holy pair, the child holds a rainbow happy meal and a selfie stick with a mobile phone. He is also wearing a ‘Grogu’ (baby Yoda) costume in reference to the modern process of Disneyfication of our myths, stories and culture. Beyond that, this is the archetypal father figure that transcends religion and culture. The piece is a commentary on the corporate commoditization and appropriation of “fatherhood” in order to promote its own consumer culture values. In the background, feminist activists are depicted taking down a traditional male statue representing the “Patriarchy”. In our current overly politicized consumer culture, Hollywood, Disney and many major brands have already taken sides in the culture wars, inevitably having a major impact and influencing how young susceptible minds think of men, masculinity and fatherhood (to the detriment of men in general). Castrating beloved heroes and strong male figures, accused of ‘toxic masculinity’, these large ‘woke’ media companies have slowly eroded, emasculated and diminished the much needed father figure models in the name of ‘diversity’. These large conglomerates study the trends and manipulate perceptions and the public opinion. An all seeing corporate hovering pyramid oversees ours clicks, responses and purchases. The more they know what products and stories we endorse, the more they can profit. Always beware and be highly skeptical of the oversimplification of history and identity politics, especially when it is presented by large million dollar corporations in order to sell their products and indoctrinate the masses with their ‘plastic’ ideologies. Divided and distracted we become easy preys for their capital driven agendas. That is why the Christian Icon of Saint Joseph in Pater provides us with a reasonably relevant archetype that needs to be brought back in our times.
Pater, 2023, oil and metal leaf on panel, 29’ x 13” $4,300
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After Hurricane Maria hit Puerto Rico, people’s lives were transformed forever. The image of the Christian Crucifixion is often seen as a testament of suffering, love and sacrifice. These experiences are not alien to the people living in the island after the hurricane. The pathos and passion of a community that emerges after disaster strikes is what inspired this painting. But the sense of sadness and empathy doesn’t come without criticism on the way things have been handled in the oldest colony of the world. The colonial mindset is also prone to indoctrination and submissive behavior rooted in centuries of cultural assimilation and conformity. In this depiction of the crucifixion, Christ is nailed to an electric post that has been partially destroyed by the winds. With the collapse of the electric grid, diesel cans and power generators became crucial at the time for survival. High above a sign that reads “FREE MAN” has been partially erased, now reading ‘FEMA’ as a mockery and commentary to the ridiculously inefficient aid provided by the Federal Government. On the painted frame, an assortment of parody products, food and supplies provided by FEMA and other agencies is depicted . The black Puerto Rican flags above are signs of resistance and mourning in light of the recent economic austerity measures imposed on the island by the U.S. finance sector.
The characters at the foot of the cross represent different attitudes and responses from part of the people on the aftermath of Maria. Some prepare to leave, others wait and hope, some try to offer a helping hand. Below a woman in despair holds a skull and a satyr child pulls out an outlet power strip cord. Myths converge with reality in a bleak scenario inhabited by magical realism. A rooster standing on a power generator represents vigilance and watchfulness. In the background American transnational corporations and capital follow after Spanish colonizers. Teddy Roosevelt riding a white horse references to the Spanish American war of 1898 in which Puerto Rico became a possession of the United States. Some angels with camera and satellite dish, hover around an American ex president throwing paper towels at the people. Next to them another group of people raise their phones up to a cell phone tower in order to get a signal. In the distance, a cargo ship with the blessing of the Jones Act brings much needed supplies.
Two serpents emerge from behind Christ symbolizing the two opposite choices and the dual nature of a divided and polarized population. People living under a colonial rule basically live in a state of limbo which does not allow them to move forward as a country. They either choose independence or become a state. Two toilet papers below roll out the title of this painting: CRUZ Y FICCION (ES) which would translate in English as “Cross & fiction(s)”. Some people say there was a Puerto Rico before Maria and a Puerto Rico after Maria. One thing is for sure, the island where I grew up in is definitely at the crossroads of history where it must decide what kind of future it’s people want or simply allow Wall St. and the U.S. to decide that for them. As with The Hanged Man from the Tarot, CRUZ Y FICCION (ES) relates to sacrifice, often self imposed but it can also speak of a humiliation or an ordeal in order to see things from a different perspective and grow up as an individual. It is also an archetype of transformation, regeneration and initiatory penitence for a higher purpose. The present situation may have us in an uncomfortable position but keep in mind that it’s a transitory stage in life. If we bear through it, we may start seeing things differently and grow much stronger afterwards.
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SOCIAL JUSTICE ARCHANGEL, 2022, colored pen and ink on toned paper 11”x 8.5” $450
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