"After working as a banner, and have seen my mother painted pictures that hung in the living room of his house and my father that the signs we put in the textbooks of school, I start to paint in 1989 in my hometown Durango, Mexico. The School of Painting in Durango, has existed since the fifties, Montoya founded by Francisco de la Cruz, Mexican muralist painter of movement, was painting, sculpture, engraving and Crafts. When I came to this institution, Montoya was removed, the golden age had ended long ago, and the workshops were virtually forgotten, only three teachers maintained an enthusiasm in the classroom: Donato Martinez, an elder in charge of the center, belonging to the former Communist Party, sculptor and co-founder with Montoya de la Cruz, they filled with monuments to national heroes to the streets of my hometown. Marcos Martinez Velarde, in charge of the Design Workshop, we had to work tirelessly with the model and the Bravo maestro Guillermo Moran, who had been on the team of David Alfaro Siqueiros in Cuernavaca, Morelos, one of the three pillars of Mexican murals, the only contemporary art movement in which Mexico is known in the world.
The teaching in the workshops of this school that I joined, despite having a genuine ex-combatants with endless experiences alongside personalities, no transmitting, since the artists do not always know or hardly ever taught, thus leaving the students, which were developed almost alone .. Making use of the facilities and some models that give us, we form a compact group, my older brother Oscar Mendoza, Ricardo Fernández my good friend and me. We started by the school library, perhaps the best in art throughout the Province, a treasure that was forgotten, and moistened apolillado because this area had many floods. When we started, the windows could not be opened by moisture, and thus we found the task of classifying books, and of course read everything we could. Thus, we began to discover a world of artistic movements which increased with the abstraction in the twentieth century. We decided to work locked in locked day and night in a workshop that gave us inside the school, with chapopote cans, paper rolls estraza, pigments and turpentine.
The reality has always been my concern in this build since I first saw an illustration of Vermmer, but I saw so many painters of the early twentieth century, soon began to focus my work towards trends constructivist, cubist, expressionist and even abstraction, the result was an exhibition that did all three, Ricardo, Oscar and I in the Gallery Durangense "Tlacuilos. Tlacuilo means painter in the indigenous language Nahualt. The show was called "Layers, Contemporary Art" (1990).
Began to comment on the cultural associations of the Durango School of painting was revived after many years, this led us to organize all the other students, we were about twenty, who were looking the same as us, but perhaps with less commitment. We wanted to show what we were doing throughout the world and decided to do on the streets, in schools with children, hawkers, etc. So doing a lot of exposure at any site, lasted three hours and were exposed Trestles fell by the dusty winds .... that was how we began to know and begin to take criticism in the city.
In 1992, I read a poster at the Casa de la Cultura de Durango calling for young people to join the group of Mexican mural painters in Cuernavaca, Morelos, providing scholarships and training for the realization of murals, as I commented to Oscar and Ricardo, We decided together some money and departed. We selected the three, and this allowed us to get out of Durango and in the center of my country. Cuernavaca, Morelos, is located one hour from the capital, Durango to twelve hours.
It is completely different because we are on land where the history of my country, in every sense, has been engraved with golden letters, when talking about Mexican culture has to live and experience this region, perhaps the richest in Mexico.
Be installed along with the others who had been selected for the other thirty-one provinces, received all sorts of classes, and participated in drafting the biggest mural I've seen in my life, that work is still done in the dome of market of Cuernavaca. Its director was the painter Silverio Saiz Zorrilla, a character dressed in a military capacity to able to move heaven, sea and land, his team was loyal people, formed in the streets that we were taught strategies on how to survive in painting .
Our team, at that time, conducted two murals 22m.x 4m., Including compressors, scaffolding and harnesses. Our designs were expanded and experienced another way of painting that can not be achieved without proper organization of a team. In the course met the likes of painters Rufino Tamayo, Manuel Chavez Morado, Raul Anguiano, Victor Contreras, Desiderio Xochitiotzin, hunt Kunt and Carlos Campos, who supported and advised it provides the teaching that has no price from his experience.
After half a year working on the murals in Cuernavaca, I returned to Durango, and find the way to go back to that area, to rediscover the place that undoubtedly is the most important cultural centers of Latin America.
FONCA (National Fund for Culture and the Arts), recently convened its first scholarship in Durango, Awards for Young Artists, and I bet the hit. This encouraged me to go to live D.F. in 1994, where I met the master Francisco de Santiago Silva, professor of the Academy of San Carlos Arts and Director of the proposed maximum academic performance in the National School of Plastic Arts of the Autonomous University of Mexico. Although I did not have official papers of studies in Fine Arts, invited me to participate with their students to attend some workshops as Anzures Javier, who first taught me to distinguish the color itself without relation to the design the chiaroscuro. Thus began a phase based on purely abstract colorful and strong, the reality was a third plane. Still, I commissioned portraits were still on the realism that has always been present in my career. Indeed, in 1996, the Mayor of Durango, sileri Esparza, I ordered a portrait that I paid with a plane ticket to Spain. It was during this first trip to Spain, where I met the art critic and professor Joan Peiró Lopez, current Director and Dean of the Painting Department of the Universidad Politécnica de Bellas Artes de San Carlos de Valencia and Vice Chancellor of the University of Culture, which Grant gave me a food that made me stay for a year in this country, doing a mixture of realism with abstract painting and having the opportunity to visit the Museo del Prado and the Louvre in Paris. The impact was seen for the first time all those paintings of the books from my adolescence, the fact that completely filled the style in which he wanted to express my pictures.
Return to Mexico and begin to feel very deeply the identity of my people and my culture, completely different from what had been receiving in Europe.
The conquest of the Aztec empire by the Spaniards brought synchretisms that produced a mix that with the passage of centuries has not changed, this has led to a way of feeling and living that might seem like a fantasy but it is real and that permeates every part of life .... it is as if you were dreaming .... These issues, so far, I do create stories without any more pretentious purpose to show what I hear, sense, enjoyed and lived in places where they have spent and the people that I have arrived.
Pilar and I decided to live together in 1998 in Mexico City, give me a new Fellowship FONCA and give it another of the University to be in Mexico. That's when we know the members of the Printmaking Workshop "Hermes", a workshop in the south of the city. Learn to work wood plates 1,25 mx2, 50m., With motifs of popular culture, and we began to mobilize and expose the work in several museums in the capital as a province. At the same time and in subsequent years (1999-2001), working in the workshop of the painter Enrique Estrada as a helper doing political writers and size, this allows me to have a fixed salary and gain more experience, because when you are the orders of another easel painter, just to do what he wants, in this way, it creates a discipline and learning about other ways of seeing the painting, Estrada helps me to balance the warm colors with the cold, in tended to me too warm. My personal work, begins to show that stories tend to magical realism, images that I refer to the written by Juan Rulfo.
From this moment, both my songs as my technique, to this day, stories that speak precisely maintain a syncretism. Never belonged to a specific school or movement, painted with a language that I think is the most universal, the figurative, and try to create a world with people who belong anywhere. My characters are human and symbols in human guise, I like the stories and lies that people talk because they are myths and legends that they end up worshiping, I do not like to follow rules that prevent me to paint scenes then inconsistent, because grab me the same pictures here and there and put them close to my land, as well as in dreams, trying not to think too much on why they are there, but sometimes both of which are repeated, complete symbols saying something.
In 2001, beginning to sell work in a gallery in the capital, and Pilar shown my paintings in New York getting an invitation from the Grady Alexis Gallery an exhibition, this exhibition would be repeated on a second occasion in Gracie Square Hospital of New York. Unfortunately, the embassy of that country did not grant me a visa required to cross the border, and that such exposures could never do.
In 2002, FONCA, gives me another scholarship for the third time, and decided to come to live in Spain, where I meet with entrepreneurs, who buy my most recent work.
In my career as a painter that begins in 1989, steps have now switched over and under production due to the laborious technique, always in constant motion pictures. An allergy to dust from the quarry, I stopped sculpting, I liked that painting, I have also done scenes for old western movies, because in my town filming the Americans, I have tried to follow two main ways of understanding painting, first, the spots themselves that they have taught me a lot, and the second copy of what I see in the photos, in books and magazines, in movies, in dreams,,,, and of course In reality,,,, in realism."
The teaching in the workshops of this school that I joined, despite having a genuine ex-combatants with endless experiences alongside personalities, no transmitting, since the artists do not always know or hardly ever taught, thus leaving the students, which were developed almost alone .. Making use of the facilities and some models that give us, we form a compact group, my older brother Oscar Mendoza, Ricardo Fernández my good friend and me. We started by the school library, perhaps the best in art throughout the Province, a treasure that was forgotten, and moistened apolillado because this area had many floods. When we started, the windows could not be opened by moisture, and thus we found the task of classifying books, and of course read everything we could. Thus, we began to discover a world of artistic movements which increased with the abstraction in the twentieth century. We decided to work locked in locked day and night in a workshop that gave us inside the school, with chapopote cans, paper rolls estraza, pigments and turpentine.
The reality has always been my concern in this build since I first saw an illustration of Vermmer, but I saw so many painters of the early twentieth century, soon began to focus my work towards trends constructivist, cubist, expressionist and even abstraction, the result was an exhibition that did all three, Ricardo, Oscar and I in the Gallery Durangense "Tlacuilos. Tlacuilo means painter in the indigenous language Nahualt. The show was called "Layers, Contemporary Art" (1990).
Began to comment on the cultural associations of the Durango School of painting was revived after many years, this led us to organize all the other students, we were about twenty, who were looking the same as us, but perhaps with less commitment. We wanted to show what we were doing throughout the world and decided to do on the streets, in schools with children, hawkers, etc. So doing a lot of exposure at any site, lasted three hours and were exposed Trestles fell by the dusty winds .... that was how we began to know and begin to take criticism in the city.
In 1992, I read a poster at the Casa de la Cultura de Durango calling for young people to join the group of Mexican mural painters in Cuernavaca, Morelos, providing scholarships and training for the realization of murals, as I commented to Oscar and Ricardo, We decided together some money and departed. We selected the three, and this allowed us to get out of Durango and in the center of my country. Cuernavaca, Morelos, is located one hour from the capital, Durango to twelve hours.
It is completely different because we are on land where the history of my country, in every sense, has been engraved with golden letters, when talking about Mexican culture has to live and experience this region, perhaps the richest in Mexico.
Be installed along with the others who had been selected for the other thirty-one provinces, received all sorts of classes, and participated in drafting the biggest mural I've seen in my life, that work is still done in the dome of market of Cuernavaca. Its director was the painter Silverio Saiz Zorrilla, a character dressed in a military capacity to able to move heaven, sea and land, his team was loyal people, formed in the streets that we were taught strategies on how to survive in painting .
Our team, at that time, conducted two murals 22m.x 4m., Including compressors, scaffolding and harnesses. Our designs were expanded and experienced another way of painting that can not be achieved without proper organization of a team. In the course met the likes of painters Rufino Tamayo, Manuel Chavez Morado, Raul Anguiano, Victor Contreras, Desiderio Xochitiotzin, hunt Kunt and Carlos Campos, who supported and advised it provides the teaching that has no price from his experience.
After half a year working on the murals in Cuernavaca, I returned to Durango, and find the way to go back to that area, to rediscover the place that undoubtedly is the most important cultural centers of Latin America.
FONCA (National Fund for Culture and the Arts), recently convened its first scholarship in Durango, Awards for Young Artists, and I bet the hit. This encouraged me to go to live D.F. in 1994, where I met the master Francisco de Santiago Silva, professor of the Academy of San Carlos Arts and Director of the proposed maximum academic performance in the National School of Plastic Arts of the Autonomous University of Mexico. Although I did not have official papers of studies in Fine Arts, invited me to participate with their students to attend some workshops as Anzures Javier, who first taught me to distinguish the color itself without relation to the design the chiaroscuro. Thus began a phase based on purely abstract colorful and strong, the reality was a third plane. Still, I commissioned portraits were still on the realism that has always been present in my career. Indeed, in 1996, the Mayor of Durango, sileri Esparza, I ordered a portrait that I paid with a plane ticket to Spain. It was during this first trip to Spain, where I met the art critic and professor Joan Peiró Lopez, current Director and Dean of the Painting Department of the Universidad Politécnica de Bellas Artes de San Carlos de Valencia and Vice Chancellor of the University of Culture, which Grant gave me a food that made me stay for a year in this country, doing a mixture of realism with abstract painting and having the opportunity to visit the Museo del Prado and the Louvre in Paris. The impact was seen for the first time all those paintings of the books from my adolescence, the fact that completely filled the style in which he wanted to express my pictures.
Return to Mexico and begin to feel very deeply the identity of my people and my culture, completely different from what had been receiving in Europe.
The conquest of the Aztec empire by the Spaniards brought synchretisms that produced a mix that with the passage of centuries has not changed, this has led to a way of feeling and living that might seem like a fantasy but it is real and that permeates every part of life .... it is as if you were dreaming .... These issues, so far, I do create stories without any more pretentious purpose to show what I hear, sense, enjoyed and lived in places where they have spent and the people that I have arrived.
Pilar and I decided to live together in 1998 in Mexico City, give me a new Fellowship FONCA and give it another of the University to be in Mexico. That's when we know the members of the Printmaking Workshop "Hermes", a workshop in the south of the city. Learn to work wood plates 1,25 mx2, 50m., With motifs of popular culture, and we began to mobilize and expose the work in several museums in the capital as a province. At the same time and in subsequent years (1999-2001), working in the workshop of the painter Enrique Estrada as a helper doing political writers and size, this allows me to have a fixed salary and gain more experience, because when you are the orders of another easel painter, just to do what he wants, in this way, it creates a discipline and learning about other ways of seeing the painting, Estrada helps me to balance the warm colors with the cold, in tended to me too warm. My personal work, begins to show that stories tend to magical realism, images that I refer to the written by Juan Rulfo.
From this moment, both my songs as my technique, to this day, stories that speak precisely maintain a syncretism. Never belonged to a specific school or movement, painted with a language that I think is the most universal, the figurative, and try to create a world with people who belong anywhere. My characters are human and symbols in human guise, I like the stories and lies that people talk because they are myths and legends that they end up worshiping, I do not like to follow rules that prevent me to paint scenes then inconsistent, because grab me the same pictures here and there and put them close to my land, as well as in dreams, trying not to think too much on why they are there, but sometimes both of which are repeated, complete symbols saying something.
In 2001, beginning to sell work in a gallery in the capital, and Pilar shown my paintings in New York getting an invitation from the Grady Alexis Gallery an exhibition, this exhibition would be repeated on a second occasion in Gracie Square Hospital of New York. Unfortunately, the embassy of that country did not grant me a visa required to cross the border, and that such exposures could never do.
In 2002, FONCA, gives me another scholarship for the third time, and decided to come to live in Spain, where I meet with entrepreneurs, who buy my most recent work.
In my career as a painter that begins in 1989, steps have now switched over and under production due to the laborious technique, always in constant motion pictures. An allergy to dust from the quarry, I stopped sculpting, I liked that painting, I have also done scenes for old western movies, because in my town filming the Americans, I have tried to follow two main ways of understanding painting, first, the spots themselves that they have taught me a lot, and the second copy of what I see in the photos, in books and magazines, in movies, in dreams,,,, and of course In reality,,,, in realism."
1967 - Born in Mexico in the town of Durango.
1989 - Entered the workshops of the school of painting and sculpture in his home town.
1992 - Pintores Beca Group muralists of Mexico, Cuernavaca, Morelos.
1994 - FONCA Scholarship (Fund for Culture and the Arts in Durango) - Status of Young Artists.
1998 - FONCA Scholarship (Fund for Culture and the Arts in Durango) - Category Creators with Trajectory.
2002-FONCA Scholarship (Fund for Culture and the Arts in Durango) Category Creators with Trajectory.
Since 2002 lives in Spain.
2002-2006 .- Works in the works that are part of the collection of a company in Murcia.
Pre-2006 for the first Figurative Painting of the Foundation for the Arts and Artists in Barcelona.
2007-Solo exhibition at The Art Gallery World Godoy Madrid in March. -Selected in the Second Figurative
Painting of The Foundation for the Arts and Artists. Award ceremony and exhibition inthe MuseoThyssen- Bornemissa Madrid. Second exhibition of the works awarded in the Foundation Fran Daurel Barcelona.
2008-Honorable Mention in the Figurative Painting Concuso III of the Foundation for the Arts and Artists in Barcelona. Acquisition of the work that will become part of the Museum of Contemporary Art in that city.
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