PAPER TIGER curated by Hellion gallery at Not a gallery
19 09 2019

Last night the show was full of amazing art, these are some of my favorite pieces: Meg Adamson, Violeta Hernandez, Jon Macnair, Diana Bama, Mike Sandoval, Youko Horiuchi.

ENG. This is the piece I made for the exhibition. The original art was made with ink on paper and then I made another version adding some color and texture for a unique print which fortunately found a new loving home last night.

I really enjoyed doing this painting because I had never done a tiger before and I usually tend to add color to my work, but this time I just wanted something that would enhance the line work. Of course I made a third version full of color (just because I love color) for limited edition prints that I will put on my Etsy shop soon.

Great show and delicious mezcal!

✒︎ ✒︎ ✒︎ ✒︎ ✒︎

ESP. Esta es la pieza que hice para la exposición. El original es en tinta sobre papel e hice otra versión agregando algo de color y textura para una impresión única que afortunadamente ayer encontró un nuevo y cariñoso hogar.

Disfruté mucho hacer este trabajo porque nunca había hecho tigres y porque siempre tiendo a poner color a todo, pero para la exposición quería algo simple que resaltara el trabajo de línea. Por supuesto, después hice una tercera versión a color para una edición limitada de impresiones que pronto subiré a mi tienda de Etsy.

Unicorn witch: the book of healing plants

ENG. This piece is from a dream I had about a centauride who protected a book from the fire she emanated to keep the heat of the medicinal plants she grew in her body. The book contained all the information about these healing plants, a map of all the seas, and a special section on how to heal a heart through collecting poppy seeds and blue notes. The centauride was a witch, a unicorn, a beast and she had the wisdom and strength of a thousand women.

♞ ♞ ♞ ♞ ♞

ESP. Esta ilustración es de un sueño que tuve acerca de una centauro que protegía un libro de las llamas que emanaban de su cuerpo usadas para mantener tibias las plantas medicinales que crecían en ella. El libro contenía toda la información de esas plantas curativas, un mar de los océanos y una sección especial donde se hablaba de cómo curar un corazón a través de recolectar semillas de amapola y notas musicales (de jazz). La centauro era bruja, unicornio y bestia, y tenía la sabiduría y la fortaleza de mil mujeres.

Disonancia I

Disonancia I: para atravesar una aurora boreal hay que arrancarse el corazón.


Artery skein: My monster heart 

For this piece (Artery skein: My monster heart) I started with a couple of sketches, one very general and one in which I worked lights and shadows, but I felt that something was missing in the illustration, so I worked on a lot of new sketches until I found the right one. When I start inking, I usually use different thicknesses of pens, but this time I used only one and liked how it turned out. For the color palette I was inspired by bugambilias, in all those beautiful magenta and cherry shades.

☽  ☽  ☽  ☽  ☽

Este es una probadita del proceso creativo de Artery skein: My monster heart. Comencé con un par de bocetos, uno muy general y otro en el que trabajé luces y sombras, pero sentía que algo le faltaba a la ilustración, así que trabajé en varios bocetos más hasta que el dibujo salió tal como lo quería. Para la ilustración en tinta generalmente uso estilógrafos de diferentes grosores, pero esta vez usé sólo uno y me gustó mucho el resultado. Para la paleta de colores me inspiré en las bugambilias que llenan de color la ciudad, particularmente de esos colores guinda y magenta que tanto me gustan. 


Inspiración para la paleta de colores / Color inspiration

Etapas de la ilustración / Illustration process


“In fairy tales, monsters exist to be a manifestation of something that we need to understand, not only a problem we need to overcome, but also they need to represent, much like angels represent the beautiful, pure, eternal side of the human spirit, monsters need to represent a more tangible, more mortal side of being human: aging, decay, darkness and so forth. And I believe that monsters originally, when we were cavemen and you know, sitting around a fire, we needed to explain the birth of the sun and the death of the moon and the phases of the moon and rain and thunder. And we invented creatures that made sense of the world: a serpent that ate the sun, a creature that ate the moon, a man in the moon living there, things like that. And as we became more and more sophisticated and created sort of a social structure, the real enigmas started not to be outside. The rain and the thunder were logical now. But the real enigmas became social. All those impulses that we were repressing: cannibalism, murder, these things needed an explanation. The sex drive, the need to hunt, the need to kill, these things then became personified in monsters. Werewolves, vampires, ogres, this and that. I feel that monsters are here in our world to help us understand it. They are an essential part of a fable.” 

― Guillermo del Toro

☽  ☽  ☽  ☽  ☽    We are all monsters   ☽  ☽  ☽  ☽  ☽


Art prints are already available on Etsy 
Las impresiones de esta pieza están disponibles en Etsy

The other (The mushroom hunters)

The mushroom hunters

Science, as you know, my little one, is the study
of the nature and behaviour of the universe.
It’s based on observation, on experiment, and measurement,
and the formulation of laws to describe the facts revealed.

In the old times, they say, the men came already fitted with brains
designed to follow flesh-beasts at a run,
to hurdle blindly into the unknown,
and then to find their way back home when lost
with a slain antelope to carry between them.
Or, on bad hunting days, nothing.

The women, who did not need to run down prey,
had brains that spotted landmarks and made paths between them
left at the thorn bush and across the scree
and look down in the bole of the half-fallen tree,
because sometimes there are mushrooms.

Before the flint club, or flint butcher’s tools,
The first tool of all was a sling for the baby
to keep our hands free
and something to put the berries and the mushrooms in,
the roots and the good leaves, the seeds and the crawlers.
Then a flint pestle to smash, to crush, to grind or break.

And sometimes men chased the beasts
into the deep woods,
and never came back.

Some mushrooms will kill you,
while some will show you gods
and some will feed the hunger in our bellies. Identify.
Others will kill us if we eat them raw,
and kill us again if we cook them once,
but if we boil them up in spring water, and pour the water away,
and then boil them once more, and pour the water away,
only then can we eat them safely. Observe.

Observe childbirth, measure the swell of bellies and the shape of breasts,
and through experience discover how to bring babies safely into the world.

Observe everything.

And the mushroom hunters walk the ways they walk
and watch the world, and see what they observe.
And some of them would thrive and lick their lips,
While others clutched their stomachs and expired.
So laws are made and handed down on what is safe.

The tools we make to build our lives:
our clothes, our food, our path home…
all these things we base on observation,
on experiment, on measurement, on truth.

And science, you remember, is the study
of the nature and behaviour of the universe,
based on observation, experiment, and measurement,
and the formulation of laws to describe these facts.

The race continues. An early scientist
drew beasts upon the walls of caves
to show her children, now all fat on mushrooms
and on berries, what would be safe to hunt.

The men go running on after beasts.

The scientists walk more slowly, over to the brow of the hill
and down to the water’s edge and past the place where the red clay runs.
They are carrying their babies in the slings they made,
freeing their hands to pick the mushrooms.

Neil Gaiman




Art prints are already available on Etsy 
Las impresiones de esta pieza están disponibles en Etsy