2026: Buffalo AKG group show
Super excited & honored to be included in this show alongside so many artists I have long admired-
Let Us Gather in a Flourishing Way , curated by Andrea Alvarez, explores contemporary Latinx artists’ innovations and interventions within established traditions of painting, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way],” the show celebrates abundance and presents a vision of Latinx art that is, like the diaspora itself, infinitely complex.
ABOVE: “Hyphenated Nature: Northern Florida-Cuban Painting Relations (after Carta)”, 30” x 78”. (left & right are on-site , oil on canvas paintings & middle is acrylic & handmade Cuban soil-pigment on canvas (2020) and is my contribution to the “Let Us Gather in a Flourishing Way” exhibition.
For years I have been searching for ways to hyphenate my perceptually based on-site painting practice with my conceptually based interest in connecting with the Cuban landscape and with the history of the Cuban artists who painted it. This triptych is composed of two Northern Florida paintings made “en plein-air” over the course an entire day at St Mark‘s Nature Preserve, which bookend an Albers-based square work that has an image of a Cuban landscape painted by using Cuban soil pigment. This middle piece is based on a famous painting “Las Malangas” by Valentin Sanz Carta that is in El Museo Nacional de Bellas Artes in Havana. I originally saw this painting on my first visit to Cuba in 1999 and was immediately drawn to it. I chose to use this piece as the hyphenation for my two on-site works because I saw elements in the Carta painting in each of my works. - The painting on the left was of a creek with tannic waters surrounded by dense vegetation and trunks leading over it. The work on the right had a sable palm that was similar to the ones in the Carta painting.
I created my Albers Square grid foundation by pulling colors from my on-site paintings and then repainted a section of the Carta work using actual Cuban soil, which I ground-up by hand into pigment. By literally superimposing “Cuba” (in the form of soil/pigment) on Western Bauhausian modernism, I embraced the modernist grid while simultaneously bursting out of it and rejecting it with the Cuban vernacular landscape, and in so doing found a new culturally and pictorially hyphenated space to paint.
The show’s intergenerational and regionally broad dialogue is reflected in seven thematic groupings: (New) Histories, offering new perspectives on personal, cultural, and global histories; Bodies & Figures, representations of and by marginalized people, considering the importance of the body, and who is or isn’t seen in an image; Identity/Place, a consideration of how identity and place shape each other with a diasporic lens; Land/tierra, varied approaches to land and the built environment, from the material to the imaginary; Community, highlighting various communities—artistic, blood, and chosen—and their importance to populations within the diaspora; Pinturx, contemporary Latinx approaches to traditional painting genres like still life and portraiture; and Abstractions, exploring centuries-long Indigenous and European abstract traditions still in use by artists today.
Let Us Gather in a Flourishing Way is organized by the Buffalo AKG Art Museum and curated by Curator Andrea Alvarez. It will be followed by a national tour including presentations at the Des Moines Art Center, the Museum of Contemporary Art Denver, the Phoenix Art Museum, and the Frye Art Museum, Seattle.
In Nature’s Studio: Two Centuries of American Landscape Painting
This core show is organized by the Reading Public Museum, Reading Pennsylvania and augmented by landscape-themed works from the permanent collection of the Art Museum of South Texas. It runs January 22- May 3, 2026.
Works in the Reading collection combine early depictions of bucolic North American vistas—intimate forest interiors, sweeping panoramic views of natural wonders, and dramatic images of the untamed land and sea—with scenes of Europe, the Near East, and South America.
In addition to works by nineteenth-century landscape artists such as Thomas Birch, Frederic Church, Jasper Francis Cropsey, Worthington Whittredge, William Trost Richards, Hermann Herzog, and Aaron Draper Shattuck, the exhibition also examines the late-nineteenth century shift to Impressionism and Tonalism at the turn of the century by painters including George Inness, N. C. Wyeth, Childe Hassam, Edward Willis Redfield, John Fulton Folinsbee, John Mulhaupt and Robert Spencer. These movements captured the fleeting effects of light and atmosphere by employing new and innovative techniques including painting out-of-doors, en plein air.
Cumulative Nature: Layered View (WA) , 48” x 36”, oil on canvas, 2008 (in the permanent collection of the Art Museum of South Texas)
The expanded exhibition explores the progression from naturalistic depictions of pastoral landscapes to the stylized and individual impressions of time and place reflect the sensibilities of visual culture in the United States over the course of two centuries. The on-site (en plein air) painting above is my piece in this show.
Twenty-One Distinguished Artists of the 21st Century
is a showcase of 21 Cuban contemporary artists from rising mid-career to international masters.
This event highlights over 75 works, including paintings, sculptures and assemblages by the most exciting voices in today’s global art scene.
Artists include:
Alfredo Sosabravo, Manuel Mendive, Julio Larraz, Clara Morera, Humberto Calzada, Tomás Sánchez, Roberto Fabelo, DEMI, José Bedia, Lilian Garcia-Roig, Belkis Ayón, Joel Besmar, Juan Roberto Diago, Vicente Hernández, Giosvany Echevarría, Jorge Luis Santos, Enrique Casas, Irina Elén González, Miguel Florido, Yasiel Elizagaray and Danuel Méndez.
Show opens March 6 at Cernuda Arte, 3155 Ponce de Leon Blvd. Coral Gables, FL 33134
M-F: 10-6pm & Sat: 12-5. 305-461-1063
2007: Cumulative Nature
In 2007 I became represented by Carol Jazzar Gallery in Miami. She wanted me to create a new installation of 48" x 36" FL paintings for a my solo show with her in December. The result was Cumulative Nature: North Florida, my first true “passing of the day” one-day, all-day paintings.The show was reviewed in numerous publications during the Miami Beach Art Basel Fair week and below is a pdf of a review in Art Nexus magazine.CNArtNexusRev2007
2007: Painted Woods
This was my fifth solo show at Valley House Gallery in Dallas and they produced a catalog for the show that included a curatorial essay by Tatiana Flores. The exhibition titled Painted Woods, included many of the works from WA that were in the Thick Brush Painting Installation show I had a few months prior at the MAC in Dallas. There were also works from my recent residency at the MacDowell Colony in NH & new paintings from my northern FL "backyard".
Below is a VERY LARGE (43MB) pdf of the entire 2007 Painted Woods catalog produced by Valley House Gallery. Downloading will take a while.2007VHCatalogueFull
2007: "More is More: Maximalist Painting"
I worked with art historian Tatiana Flores to help curate a show at the FSU Museum of Fine arts called "More is More: Maximalist Tendencies in Contemporary American Painting". Professor Flores wrote a curatorial essay titled The "Ism" in Maximalism for the beautiful catalog that the museum published for the show. At the time, the word "maximalist" was a made-up adjective we were using to describe paintings that seemed perceptually and conceptually muti-demensional and intense.We enjoyed seeing the word "maximalist" and "Maximalism" starting to be used about a year later by the New York Times and New Yorker writers but must admit, I wish they could have seen this show because if they had, I know they would have wanted to write about how great it was. One of the artist who came to the opening, Jin Meyerson, mentioned he thought this was by far the best painting show he had seen all year...and he lives in NYC!You can see images of the show by going to my website and searching under Gallery Views.The artists in the show were JAMES BARSNESS, DOUGLAS BOURGEOIS, ROB CLAYTON & the Clayton Brothers, MICHAEL ROQUE COLLINS, ROSSON CROW, REED DANZIGER, DANIEL DOVE, LILIAN GARCIA-ROIG, JULIE HEFFERNAN, MARK MESSERSMITH, JIN MEYERSON, GRANT MILLER, LOREN MUNK, ERIK PARKER, EMILIO PEREZ, LISA SANDITZ, DAN SUTHERLAND, GAEL STACK, MASAMI TERAOKA, NICOLA VERLATO, and ROBERT WILLIAMS...with a special appearnace of a 1966 Peter Saul painting...WOW!
Below is my brief co-curatorial statement on this concept behind this show titled "How to Do More with More: Embracing Maximalism in Contemporary Painting". You can click on it to enlarge it so you can actually read it.
Full "More is More..." catalog pdf (3.6 MB) 2007MaxCatalogue
2007: Red Clay Survey
Fall Paths (NH), my 60" X 144" triptych (painted during my 2006 MacDowell residency) was awarded First Place at the Huntsville Museum of Art’s biennial Red Clay Survey: 2007 Exhibit of Contemporary Southern Art" by the juror, Margaret Lazzari. It also won the People’s Choice Award (from the general audience votes) and this was the first time in the show’s long history that both awards had been given to the same work.
Super excited and honored to be in this amazing group show of Latinx artists-
Let Us Gather in a Flourishing Way explores contemporary Latinx artists’ innovations and interventions within established traditions of painting, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries, from political borders to disciplinary confines. This exhibition therefore celebrates artists whose expressions are first and foremost personal and subjective, but whose heterogeneous and culturally specific interventions enrich one another and the history of American and contemporary art, two fields from which such artists have been historically excluded. Inspired by former U.S. Poet Laureate Juan Felipe Herrera’s poem “[Let Us Gather in a Flourishing Way],” the show celebrates abundance and presents a vision of Latinx art that is, like the diaspora itself, infinitely complex.
