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Miguel Rivera Art

Expanded Graphic Art
  • Works and Projects
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Mixed Media 2018

These are the most recent works at Studios Inc but initiated at The Scuola Internationale di Grafica de Venezia. As a side trip from my formal approach to mapping, I have included colors, amp routes and alleyway architecture from my residency in Venice. My view was always shifting and trying to keep track of north anbd south. I want to give the viewer a sense of being surrounded by tight spaces and light blue water from the canals.

Allegory I
Allegory I

Mixed media on paper

Mixed-media on paper (post-digital and intaglio relief print)

30x 22”

2018

Allegory II
Allegory II

Mixed-media (post-digital and intaglio relief print)

30x 22”

2018

Allegory III
Allegory III

Mixed-media on paper

(post-digital and intaglio relief print)

22 x 30”

2018

Predicament 2
Predicament 2

Mixed-media (post-digital and intaglio relief print)

40 x 28”

2018

Allegory IV
Allegory IV

Mixed-media (post-digital and intaglio relief print)

30x 22”

2018

Allegory V
Allegory V

Mixed-media (post-digital and intaglio relief print)

30x 22”

2018

Allegory III
Allegory III

Mixed-media (post-digital and intaglio relief print)

30x 22”

2018

By Any Available Means...
By Any Available Means...

Mixed media on paper framed for IAPA International Academy Printmaking Federation exhibit at the Taoxichuan Art Museum in Jingdezhen, China, Augut 2018

Silver and Home
Silver and Home

Mixed media painting on wood panel, laser engraving, paint and drawing.

30 x 22”

2018

My Usual Being
My Usual Being

Mixed media painting on wood panel, laser engraving, paint and drawing.

40 x 24”

2018

Mixed Media 2015-2017

This series sat in my sketchbook for years. It tells the story of the compartmentalization of empirical and experience based knowledge. It also shows a concern for telling a story in a whole different way: Watercolor Drawing as a human endeavour first, followed by the precision of science (laser) and survey in the form of lithography layers. Maps are intriguing to me because of the sense of truth and command they represent. We do not question their validity and embedded information, yet, they only consist of lines and text that share a visual syntaxis that can be read across cultures. I am joining points located in maps relevant to my readings about the history of colonization of the American continent, Mexico specifically. Other maps tell the story of migrating viruses that helped Spaniards to disseminate Mesoamerican cultures. Eventually these maps disappear under the action of digital deletion or laser engraving (burning) leaving clean lines of those joined dots.

The Origins of Idiosyncracy IV
The Origins of Idiosyncracy IV

40 x 28", Mixed media on Paper, 2017

The Origins of Idiosyncracy II
The Origins of Idiosyncracy II

40 x 28", Mixed media on paper, 2017

The Origins of Idiosyncracy III
The Origins of Idiosyncracy III

40 x 28", Mixed media on paper, 2017

The Origins of Idiosycracy I
The Origins of Idiosycracy I

40 x 28", Mixed media on paper, 2017

Ringvedra
Ringvedra

28 x 40", Mixed Media on Arches paper, 2017.

Savarga
Savarga

40 x 30", Mixed Media on Paper, 2016

Indra
Indra

28 x 40", Mixed Media on Arches paper, 2017.

Journey
Journey

40 x 28", Mixed Media on Arches paper, 2016

Mythmania
Mythmania

My artist friend Alicia Candiani brought two plates from her native Argentina to Kansas City. I have been to Argentina and I loved these maps. These maps are deeply personal to her but was kind enough to ket me use them in some of our collaborative pieces for our on-going Crossover project. I think I am ready to let these maps go but no without thanking Alicia for her open support and willingness to participate on this alternative project.

Personal Mimesis II
Personal Mimesis II

I have always admired the group of Spanish artists who migrated to Mexico during the Spanish civil war under Franco. Artists like Vicente Rojo explored the simplicity of geometry by separating watercolor and "Gouche" painting. This particular piece is an homage to his work.

Personal Mimesis
Personal Mimesis

This diptych was started back in 2008 using elements from my 2003-2008 series of works using collograph and etching. After engraving maps and viruses with laser, I started to see order again and a sense of direction by exposing paper through channels and watercolor. 

19N,41'26"LN
19N,41'26"LN

Piece based on a multiplicity of maps first used by Spanish conquerors in addition to the unknown feeling on anxiety.

The Colombian Exchange
The Colombian Exchange

The summer of 2016 in Kansas City makes one think of the inhospitable environment Europeans faced while trying to populate or take over the entire continent. This piece was inspired by the colors of the products shipped to Europe from the Americas including Silver.

Dialogue Between Cities at Proyecto ACE
Dialogue Between Cities at Proyecto ACE

This is an installation piece result from my residency at Proyecto Ace in Buenos Aires, Argentina in 2011.

The Problem with Sins
The Problem with Sins

Mixed media on Arches paper, 16 x 24", 2016

Systems of Power, 2016
Systems of Power, 2016

This is the first piece of the series that sat in my sketchbook for years. It tells the story of the compartmentalization of empirical and experience based knowledge. It also shows a concern for telling a story in a whole different way: Watercolor Drawing as a human endeavour first, followed by the precision of science (laser) and survey in the form of lithography last.

Symbols and Strata
Symbols and Strata

16 x 24", Mixed Media on BFK paper, 2016.

Silver and Gold
Silver and Gold

16 x 36", Mixed Media on Arches paper, 2016.

Symbol Precursor
Symbol Precursor

16 x 24", Mixed Media on Arches paper, 2016.

This is one of those pieces that can help to push the envelop. It was the first piece that I treated with Laser drawing after layers of lithography printing. Opening up or removing layers of ink helped me to paint or dye with watercolor and gouache paint. This is not digital printing.

8 Bits/8 Octavos
8 Bits/8 Octavos

16 x 24", Mixed media on Arches paper, 2016.

Laser, Drawing, Painting and Printmaking processes.

Mixed Media 2017

These series (Hernan Cortés children) is a testimony of human endeavour translated to drawing, followed by the precision of science (laser) and historical survey in the form of print layers. Maps are intriguing to me because of the sense of truth and respect they command. We do not question their validity and embedded information, yet, they only consist of lines and text that share a visual syntaxis that can be read across western cultures. I am joining points located in maps relevant to my readings about the history of colonization of the American continent, Mexico specifically. Eventually these maps disappear under the action of digital deletion or laser engraving (burning) leaving clean lines of those joined dots.
This particular piece is inspired by the act on navigating at night, or almost blind. Background patterns are a composite of layers of European viruses brought to the Americas by Hernan Cortez's soldiers, nautical maps and Mexican churches facades, all of them interacting without a hierarchical order. 

Testimony
Testimony

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing on black arches paper

40 x 28"

2017

Hernan C
Hernan C

"Hernando"

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing

28 x 40"

2017

Catalina Pizarro
Catalina Pizarro

"Catalina Pizarro"

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing

28 x 40"

2017

Leonor Cortes
Leonor Cortes

Leonor Cortes

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing

40 x 28"

2017

Martin Cortes
Martin Cortes

"Martin Cortes"

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing

28 x 40"

2017

Manifest (Destiny)
Manifest (Destiny)

This is a tryptic thinking of our right to manifest our right over land, nature and people. I used maps, mapping route drawings and colors that may have prominent to the conquest of the Western North American continent. 

Printmaking, painting, CNC assisted drawing and laser engraving.

30 x 66"

Amereuropa
Amereuropa

This piece resembles the struggles of two continents colliding (America and European continents) creating a whole new continent as Charles O. Mann describes in his book "1491"

Mixed media on paper.

28 x 40"

2017

fin de siè·cle I
fin de siè·cle I

These pieces are perhaps evidence of  search for unknown territories and structures found in my search of hidden linear connectors in architecture. 

"fin de siè·cle I"

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing

28 x 40"

2017

Symbiotic Relationship
Symbiotic Relationship

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing and black arches paper

40 x 28"

2017

Symbiotic Relationship II
Symbiotic Relationship II

Mixed Media: 

Lithography, Relief, Laser engraving and CNC drawing

40 x 28"

2017

Crossover KC

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115-102
115-102

This work started in 2009 and was finished during the 2012 Crossover session with printing, drawing and painting done by Rivera, Yazzie and Villalobos.

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Crossover Buenos Aires, ACE Project

CROSSOVER was collaborative international printmaking project between artists questioning the established norms of the original production and authorship of artistic work, leading to the collaborative work between artists from around the world. In this project one’s work, property and egos became irrelevant, as artists have to trust each other allowing themselves and their counterparts to place their hand-marks, images and matrixes on one’s previous works. The collaborating artists aimed to evolve in their own practice by finding common points of view and theoretical discourse.

The most recent CROSSOVER session took the format of an international project at Proyecto’ace/Artist-in-Residence International Program in Buenos Aires Argentina, from February to June 2013. Alicia Candiani as Proyecto‘ace director and Adriana Moracci as ‘ace studio manager created a new version for CROSSOVER , which included work in collaboration in a micro-residency format, an exhibition in Buenos Aires and a traveling exhibition through the United States.

Crossover AS
Crossover AS

Alejandro Scasso 

Mixed media

30 x 44"

Tierra-Casa
Tierra-Casa

Alejandro Thorton

Relief

30 x 22"

Crossover
Crossover

Carla Beretta

30 x 44"

Mixed media collage

 

Crossover CP
Crossover CP

Carla Perri

Mixed media print

30 x 22" 

Crossover CR
Crossover CR

Carolina Roge

Mixed media

30 x 22"

 

Crossover CS
Crossover CS

Cristina Solia

Mixed media 

22 x 30"

 

 Crossover FG
Crossover FG

Felipe Garcia

Mixed media

30 x 44"

 

Crossover GA
Crossover GA

Gabriela Alcoba

Mixed media

22 x 30"

Crossover GZ
Crossover GZ

Gabriela Zelentcher

Mixed media on fabric

30 x 22"

Crossover JP
Crossover JP

Jennifer Pickering

Paper composite

30 x 44"

 

Crossover MM
Crossover MM

Magui Moavro

Mixed media

Dyptich 30 x 44"

 

Crossover MP
Crossover MP

Maren Preston

Mixed media on fabric

30 x 44"

 

Crossover MJSC
Crossover MJSC

Maria Jose Sanchez Chiappe

Mixed media

Dyptich 30 x 44"

 

Crossover NA
Crossover NA

Natalio Altube

Mixed Media

30 x 22"

Crossover PN
Crossover PN

Paula Nahmod

Mixed media

30 x 22"

Crossover PJ
Crossover PJ

Paz Jovtis

Mixed media

30 x 22"

 

Crossover SAV
Crossover SAV

Sara Ayme Verity

Mixed media fold

22 x 30"

 

 

Crossover SH
Crossover SH

Simon Hall

Mixed media

44 x 16"

 

Crossover SM
Crossover SM

Sol Massera

Mixed media 

22 x 30"

 

Crossover SSA
Crossover SSA

Sonia Sanchez Alvear

Mixed media

22 x 30"

Crossover VS
Crossover VS

Viviana Sierra

Mixed media

Dyptich 30 x 44"

 

Crossover YK
Crossover YK

Yoon Kim

Mixed media

Dyptich 30 x 44"

Visual Glossary

Extra information on sequential printing and drawing.

The Origins of Idiosyncracy, time sequence
The Origins of Idiosyncracy, time sequence

Initiated at Project ACE in Buenos Aires, Argentina in 2011 using wood block printing and lithography.

TOOI, part 2
TOOI, part 2

2 years later, toner drawinng and another layer of lithography was added.

TOOI part 3
TOOI part 3

I wanted to include information of my origins, so I added a map of my home town Guanajuato using a CNC drawing device.

TOOI part 4
TOOI part 4

Like any printmaker, I love Durer. His images traveled to the Americas brought by missionaries. This is an indirect reference to his power in the way he was able to illustrate religious dogma therefore, helping Europeans to conquer Mesoamerican Indian cultures.

This file was run through a laser engraver directly on the printed and drawn paper.

TOOI part 5
TOOI part 5

After laser engraving.

TOOI part 6
TOOI part 6

Gouche painting after laser engraving. This is the step where shapes start to form by intersecting angles and map coordinates.

TOOI part 7
TOOI part 7

CNC mechanical drawing is added to the piece to structure and divide negative and positive spaces.

TOOI final step
TOOI final step

Water color and Gouache paint are added to define the final image. I used colors described in the Charles Mann book 1493 in which he refers that the actual benefits for Europe from the Americas were food products harvested in Mexico and Peru such as chocolate, peppers, tomatoes, potatoes, etc.

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Allegory I
10
Mixed Media 2018
The Origins of Idiosyncracy IV
20
Mixed Media 2015-2017
Testimony
10
Mixed Media 2017
23
Crossover KC
Crossover AS
22
Crossover Buenos Aires, ACE Project
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Progress Report
The Origins of Idiosyncracy, time sequence
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Visual Glossary
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About
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CV

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