Personajes con Pajaros,"
Mixografia® on handmade paper,
44 x 36", edition of 100, 1988.
Dos Hermanos," Mixografia®
onhandmade paper, 41 x 34",
edition of 100, 1987.
- (The Remba Gallery, West Hollywood) This exhibition of Rufino Tamayos graphic work does more than honor the 100th anniversary of the late Mexican and Modern masters birth. It, without fanfare, also celebrates the Remba Gallerys many productive years of working intimately with Tamayo, as well as the genesis of their key invention of the Mixografia printing process. The fruits of their labor will dazzle and delight, startle and surprise anyone who sees this show.
Tamayo was born a full-blooded Zapotec Indian in the Mexican state of Oaxaca in 1899. Over the course of his lengthy and productive career (he died in 1991 at 91), Tamayo came to be regarded not only as one of Mexicos greatest living painters, but as one of modern arts major international masters.
Throughout his lifetime Tamayo remained fiercely committed to painting as a spiritual activity. He also bravely defended his pursuit of what he called the Mexican Tradition, which he felt was rooted in pre-Hispanic art. It has become part of the Tamayo legacy that he resisted the pressure of fellow artists Diego Rivera, David Alfaro Siquieros and the other Mexican Muralists to follow the politically-based/nationalistic themes that dominated Mexican art after that countrys revolution. Fleeing what he experienced as Mexicos personally oppressive artistic environment, Tamayo left his homeland in 1926 and lived for the next twenty years in the United States and Europe.
Luis and Lea Remba first approached Tamayo with the idea of making prints in 1973. Initially uninterested, Tamayo said that he would venture into printmaking only if he felt confident he could produce editions that possessed the same kinds of volume, textures and depth as his paintings. Luis Remba responded to Tamayos challenge by developing a printing method which, eventually, he and Tamayo would together name Mixografia. As Remba explains, I plains, I set to work and found a way to print with texture. The method allowed the artist to create a collage or maquette out of various materials, such as charred wood, rope, cotton and other natural substances, which we would then cast in copper as a printing plate.