Ricardo Morin

Auctions at EBTH.com until July 17th 8 PM

Dear Art Collectors:

 

Until October 24th, EBTH presents an auction with ten (10) paintings by Modern Master Ricardo Morin. 

Contribute in the continuance and progress of this artist's mature years of production. Sale starts at one dollar bids without minimums or reserve.

 

Link at https://www.ebth.com/search?q=Ricardo+Morin&sort=best_match&status=active

In my work, I make no reference to any specific art historical movement, nor to avant-garde moderniste agendas. I look at art in the making as the fleshy product of human experience. Yet, for me an image or object of art seeks not to explain what the meaning of the experience is; rather the image manifests the act itself to provoke an interpretation. My recent works “2005-07” project a synthetic perspective of pictorial space manifesting infinity: Art allows us to transcend the material world of signs, and to reach for the infinite. Just as our own idiopathic nature is oblivious to causality, my aesthetic frame embraces all the senses with the image as its residue. There are no outside sources nor a preconceived notion of the final composition. In a gestural and intuitive fashion, I use the plane of the canvas or paper as an active platform onto which the drawing or painting medium is applied-- in variegated densities, layer after layer, transparent or textural--; the works transform through a gradual process of accruing. As with my oil paintings, my drawings and watercolors—including recent digital paintings-- operate autonomously; however, they act within an accelerated framework as a counterpoint to the lengthy progression of the oil paintings. The inner rhythm of each composition unfolds to guide a series of shifts in which form is constructed, buried and reconstructed: exalted, veiled or reattained, thanks in part to the very gritty and sumptuous nature of the medium, the moody and acrid quality of dissonant or complementary layers. Thus color, as texture, establishes the emotional landscape of each work. The finished work stands as a concentration of multiple layers, each former state through numerous subsequent strata is integral to the final result. A sense of multi-directional movement keeps the eye in perpetual motion, glancing over delineated shapes and peering through the enmeshment of strokes over arabesque markings. A sense of having been charged, the fluidity echoes the evolution of forms below the surface. Fueling my vision is the drive to push the emotional and accidental to a communicable degree of sublimity. I am engaged in a constant struggle, of abiding and testing out my own revelations until the work becomes omniscient. In an ongoing dialogue, I work on several canvases and drawings simultaneously allowing them to inform one another. I choose the golden proportion 1=1.618 as a format that is manifestly inherent of infinity in order to divest a dialogue with the fluidity of the medium, and to conduct a triangulation of the plane, thus reasserting its flatness and object-like qualities. In reality, it is just a calculated pretext to contextualize and validate my own psyche and idiosyncrasy: an extended thought process made concrete. Seeking a degree of universality, my vision has evolved by retracing the unifying plasticity of the masters of the classical West into the cacophony a multicultural world. Yet as a strong believer in the role of the author as outside of marketing trends, I hold my own stake, and remain steadfast to the conviction that what defines me, indeed all artists, is absolute freedom. d to conduct a triangulation of the plane, thus reasserting its flatness and object-like qualities. In reality, it is just a calculated pretext to contextualize and validate my own psyche and idiosyncrasy: an extended thought process made concrete. Seeking a degree of universality, my vision has evolved by retracing the unifying plasticity of the masters of the classical West into the cacophony of a multicultural world. Yet as a strong believer in the role of the author as outside of marketing trends, I hold my own stake, and remain steadfast to the conviction that what defines me, indeed all artists, is absolute freedom.

American, born in Venezuela (1954); lives in Manhattan and works in his atelier located in Jersey City.

SOLO EXHIBITIONS


1998 - “Ricardo Morin and Niccolo Cataldi” curated by Barbara Hunt and presented by Visual AIDS at Saint Mark’s Church, New York, NY

1992 - “Paintings by Ricardo Morin: NYC Series 1992” curated by artist Carlos Zerpa; Gallería Venezuela; New York, NY

1980 - “Buffalo Series 1980” curated by Ricardo Morin, Hallwalls Gallery, Buffalo, NY

1979 -“Buffalo Series 1979” (thesis show) curated by academic advisor, artist Seymour Drumlevitch, Alamo Gallery, State University of New York at Buffalo; Buffalo, NY

1976 - “Artworks by Ricardo Morin” curated by academic advisor, artist James Jipson; Villa Maria College, Buffalo, New York


GROUP EXHIBITIONS


2009 – “In the Flesh” curated by Hong Kong artist Jo-ey Tang; February Visual AIDS Gallery on the Web @ TheBody; New York City, NY

2006 - “Unusual Portraits” curated by Jim Furlong; Hudson Guild, Gallery II; New York, NY

- “The Male Portrait” curated by Richard Renaldi; December Visual AIDS Gallery on the Web @ TheBody; New York City, NY

2005 - “Release” curated by Laurie A. Cumbo and Kimberly E. Gant; MOCADA Museum; Brooklyn, NY

2004 - “The Election Show,” (open call) University Galleries at Illinois State University, Normal, IL

2000 - “Lightbox: A Traveling Exhibit” curated by Stefanie Nagorka and Sur Rodney; first launched on the web in December’s Visual AIDS Gallery @ TheBody, as well as displayed at the Montclair Art Museum, Montclair, NJ; and later at the Robeson Art Gallery, Rutgers University, Newark, NJ through January 2001

1999 - “Taken-UP” curated by Ricardo Morin, and commissioned by Visual AIDS, the Actors’ Fund of America & the HIV Arts Network and Dancers Responding to AIDS: an art exhibition celebrating the Fourth Annual AIDS & Arts Conference at Judson Memorial Church; NY, NY.

- “Reflections: Seven Artists” curated by Ricardo Morin; March Visual AIDS Gallery on the Web @ TheBody; New York City, NY

1994 - “XIV Salón Municipal de Pintura: Homenaje a Carlos Cruz Diez” Galería Municipal de Arte; juried by: Alexis Blanco; Natalia Afanasiev; Pedro Báez; and Emilio Agra. Alcaldía de Maracay, Venezuela

1990 - “Homenaje a Paez” curated by Venezuelan Cultural Attaché Lyda Aponte de Zacklin; Galería Venezuela; New York, NY

1989 - “Artists in the Market Place” curated by Philip Verre, Bronx Museum of the Arts, Bronx, NY

1980 - “38th Western New York Show” Albright Knox Art Gallery; juried by Stephen S. Prokopoff (Director of the Institute of Contemporary Art; Boston, MA), receiving the Birge Wall Covering and the Reed Foundation Award; Buffalo, NY


PROJECTS


2010-11 Collaborative experimental-art/anthropology-research project with Dr. Andrew Irving of the University of Manchester, UK.. Dr. Irving’s project is supported by a grant from the Wenner Gren Foundation. The project is entitled “New York Stories.”My collaborative role is to define, in a chronotopic approach, five events as a biographical journey that is, both,associated with the nature of silence and its impact on one’s sense of humanity. The aim of "New York Stories" is to understand and represent the ways in which different modes of inner expression —such as people’s ongoing interior dialogues, unarticulated moods, imaginative life-worlds and emotional reverie—come to constitute people’s lived experiences and social, cultural and material expressions but often remain hidden beneath the surface of public activities. The project can be seen as a multidisciplinary collaboration between academic research and five creative artists. The proposed outcomes will encompass a series of publications in leading international journals, and an ethnographic documentary.

1994-96- I volunteered to work in social services for Fundación Metaguardia, which I had both created and directed.Metaguardia was an informational and educational center in Valencia, Venezuela to help people suffering from terminal illness--particularly, though not exclusively, for those who were also indigent. The foundation considered compassion and cooperation as the highest form of intelligence in support of the afflicted. The goal was to create therapies that involved the concept of psychological revolution through the arts, which paralleled pro bono services by participating physicians. After bringing the Foundation’ s mission to the attention of various congressional and State commissions (Education, Health, Culture, and the Arts) in Venezuela, Metaguardia came closest to a national program when the Venezuelan Ministry of the Family decided to convert the proposed art-education programming into therapeutic craft-workshops. Though the foundation only endured from 1994 to 1996, for it could not survive the economic woes of Venezuela’s collapsing economy, it remains a topic of conversation in my artistic endeavors.


PERSPECTIVIST
2006-10 - Adjunct Professor at the Manhattan Pratt Institute, Center for Continuing and Professional Studies, Course: Pictorial Perspective: This course is intended to further develop drawing skills either as an artist, architect, and interior or product designer. It is meant to gain the foundation to draw in perspective and develop an intuitive approach to three-dimensional visualization. The course teaches the principles of geometry applied to perspective through an understanding of the Platonic solids. The course also offers multiple perspective methods, bearing in mind that a wide variety of pictorial approaches will guarantee masterful results. Exercises are either freehand, as a conceptual approach to a three-dimensional space or derived from a given ground plan, section and elevation. Each class introduces drawing exercises as well as demonstrations, including a survey of techniques of representation. Topics include: Shortcuts to Establishing a Point of View from a Ground Plan and Calculating Diminishing Sizes in Scale; Easy and Effective Ways to Generating your Ideas for Exteriors and Interiors; Textural Values and Composition; Theatricality and Ambiguity in Pictorial Perspective.


REVIEWS & PUBLICATIONS


Body Positive Magazine: Dec. 1999, Virtual Gallery, Vol. XII, #12-pp 38 (interview and profile)

The Village Voice: July 25, 1989 (Bronx Museum for the Arts by Arleen Raven)

New York Times: July 22, 1989 (Bronx Museum by Vivian Raynor

El Nacional: Jul. 28, 1996, (Art Notes), Caracas, Venezuela.

Benjamin Ivry, poet, introduces in Sept 1992 Ricardo Morin’s one-man show invitation.

El Universal: September 24, 1992, editorial art section review by Maritza Jiménez, Caracas, Venezuela.

El Carabobeño: September 4, 1992 (Review); April 23, 1980 (Profile); May 16 1980 (Award from the Albright Knox Art Gallery); August 5, 1980 (Profile), Valencia, Venezuela

Buffalo Courier Express: March 30, 1980 ('Winners of the Western New York Show' reviewed by Richard Huntington); March 8 , 1980 (Art Notes)

Buffalo Evening News: October 17, 1979 (Art Notes); October 25, 1979 (Art Notes); March 30, 1980 (Art Notes)

Magnet (a publication of the Office of Cultural Affairs): September 18, 1980, Art Notes, Bufflo., NY

El Regional: August 10, 1980 (Profile); April 30, 1974, Valencia, Venezuela


APPRAISAL



1987 - Appraisers Association of America, New York, NY; Buffalo Series 1980 appraised by Executive Director, Victor Weiner.



EDUCATION


2001-02- Certificates: Using Maya and Post-Production Effects from the Center for Advanced Digital Applications [CADA] of the University of New York; and AUTOCAD from Continued Education of the University of New York.

1980-1983-.M.F.A., Stage Design, School of Drama, Yale University

1977-80- B.F.A., majored in Studio Painting, Art Department., State University of New York at Buffalo.


GRANTS


2009 - Materials Grant, Visual AIDS, New York City.

2006 - Materials Grant, Visual AIDS, New York City.

2003 - Materials Grant, Visual AIDS, New York City.

2000-02 - VESID Rehabilitation Grant, New York City.

1997-2010 - Subsistence Support, the Actors’ Fund of America

1989 - Artists in the Market Place Grant Program, the Bronx Museum of the Arts

1980-83 - Grant of the Gran Mariscal de Ayacucho, Venezuelan Government.

1979-80 – Whittet B. L. Scholarship, SUNY Buffalo

1977-80 - Grant of the Ministry of Education of the Government of Venezuela

1977-79 - Grant from the National Endowment for the Arts, SUNY Buffalo. USA


NARRATIVE:

It is a fact that the very nature of art is antithetical to commodification; thus, the struggle for survival, common to humanity, is part and parcel of humanity and, certainly, a self-defining characteristic of one’s art. I see security, respectability, fame, and success as obstructions to one’s sense of commonality; and, reactions to events can only be the conditioning of each individual’s wishes to disintegrate: I speak to the notions of fear, territoriality, ownership, and nationality, as being divisive influences which anyone may opt to uproot.

Born into a middle-class family in Valencia, Venezuela, I came to the United States in 1972 and was naturalized as an American citizen in 2001. My interest in art stems from early childhood. Formally I started, at the age of seven in my hometown of Valencia, my studies at the Escuela de Bellas Artes Arturo Michelena. Later in my teens I trained at a private atelier for a couple of years with the Hungarian painter Lazlo Lenyel.

After completing the Venezuelan baccalaureate in humanities from the Colegio La Salle (secondary school) in 1972, my parents sent me to study in the United States. I began taking art classes both at the State University of New York, Buffalo, and Villa Maria College (also in Buffalo). During the academic year 1974-75 and the academic year 1976-77 I resided back in Venezuela, where I studied privately with the Spanish artist José Luis Montero. In 1975-76 I returned to Buffalo under the tutelage of Professor Herta Kane at SUNY Buffalo and James Jipson at Villa Maria College. By this time I had begun to amass a large portfolio of works. In May 1976 I had my first one-man show: “Artworks by Ricardo Morin” at Villa Maria College Gallery. In 1977 the Ministry of Education of Venezuela awarded me a full scholarship to complete a B.F.A. at SUNY Buffalo where I majored in studio painting. I was graduated summa cum laude in May 1980. Before graduation, my thesis show “Buffalo Series 1979” was curated by, Seymour Drumlevitch at the Alamo Gallery of the State University of New York at Buffalo. In March of 1980 I submitted a nonobjective abstract painting, Buffalo Series Nº 1, 1980 , to the 38th Western New York Show at the Albright Knox Art Gallery of Buffalo, and it took the prize in painting: Birge Wall Covering and the Reed Foundation Award. In June of 1980, I had my second one-man show, Buffalo Series 1980 at Hallwalls Gallery, Buffalo, NY.

From the City of Salzburg, when I attended stage-design seminars given by Gunther Schneider Siemsen in 1979 at the Internationale Sommerakademie für Bildende Kunst Salzburg (International Summer Academy of Fine Arts Salzburg), I received the Förderungspreis Leistung der Stadt Salzburg. Seymour Drumlevitch, my then academic adviser at SUNY Buffalo, felt I had matured sufficiently as a painter and recommended I apply to the M.F.A. program offered by Yale University, School of Drama (Design Department). My M.F.A in set-design at Yale was funded by the Venezuelan Government’s full scholarship Gran Mariscal de Ayacucho. A determining factor for my electing a career path as a set designer was in part due to my confidence that I could survive the demands of the New York City art scene if I had also the attendant commercial skills. The degree was subsequently taken secundi honoris in May 1983.

My first five years after having been graduated from Yale, I worked in New York City as a struggling nonunion Off-off-off Broadway set designer with Irene Fornes and Max Ferra at INTAR Theater. I supplemented my income as a principal assistant to established Broadway designers (Robin Wagner, David Mitchell, Tony Walton, Santo Loquasto, et al.). In 1988, I managed to obtain a lease for a working loft in Tribeca, where I continued painting in large formats. In 1988, I entered the “Artist in the Market Place” program of the Bronx Museum of the Arts, which was completed in 1989. Thereafter, I had my first one man show in New York City at the Galería Venezuela on East 51st Street in September of 1992.

Owing to AIDS, I had to go on disability in 1993; sadly this meant giving up my Tribeca studio-space. Believing medical attention was to be in vain, I chose refuge with my family in Venezuela. I abandoned both medical coverage and all previous commercial pursuits. I felt only basic needs demanded attention; guided by my own intuition, I was active and expressive in my own environment, and visual expression came to be the stabilizing factor in the process of convalescence.

Between 1993 and 1996 my health declined and my body withered, yet I began a series of contemplative paintings entitled “Aposentos” (Blankets). The second painting in this series, Aposento Nº 2 was selected for the “XIV Salón Municipal de Pintura: Homenaje a Carlos Cruz Diez, 1994,” Galería Municipal de Arte [City Hall, Maracay, Venezuela].

I volunteered to work in social services at this time for Fundación Metaguardia, which I had both created and directed. Metaguardia was an informational and educational center in Valencia to help people suffering from terminal illness--particularly, though not exclusively, for those who were also indigent. The foundation considered compassion and cooperation as the highest form of intelligence in support of the afflicted. The goal was to create therapies that involved the concept of a psychological revolution through the arts, which paralleled pro bono services by participating physicians. Though the foundation only endured from 1994 to 1996 (it could not survive the economic woes of Venezuela’s collapsing economy), it remains a topic of conversation in my artistic endeavors.

With the arrival of the Anti-Retroviral Cocktail in 1996, my T-Cell count was practically nonexistent, though a sort of radical inertia had strengthened my sense of internal peace and quiet. I returned in December of 1996 to New York to obtain the new treatments as well as the disability benefits provided by Medicare accorded by my status as a legal US resident. Otherwise benefits were not available in Venezuela, because I had no previous work history there. After having reestablished medical coverage in New York City, I was homeless, though I was certain of eventually finding subsidized housing. Indeed, I went from the transitional Hotel Paradise at 2395 Grand Concourse in the Bronx (3 months in 1997) to the assisted-living Time Square Hotel at 255 W. 43rd St.--between Broadway and 8th Ave—(4 years till 2001), to my current subsidized one bedroom apartment (9 years to the present). I managed to continue painting in all the spaces available. Between 2002 and 2003 I attended classes at the Art Student League in order to have ample room to expand my work. I met my life partner in 2000, who allowed me to use his one-bedroom apartment in Jersey City as a painting studio--where I have worked until the present.

In September 1998 support came via the New York Visual AIDS Organization, which curated a one-man show based on portraiture in watercolors and oils along with another member, Nicolo Cataldi, at Saint Mark’s Church. I have had also numerous opportunities to participate in group shows, both in alternative spaces as well as on the web--most recently: Exhibit "In the Flesh," curated by Hong Kong artist Jo-ey Tang, February 2009, and Mr. Tang called my paintings of the early nineties “visual love letters to New York City.” Though nominal and symbolic gestures of support, I have received three material grants from Visual AIDS at various times during the last seven years.

In 2000 I received a VESID Rehabilitation Grant including high-end software and computer equipment to complete a certificate in Maya (a digitally immersible three-dimensional environment and related digital software) from the Advanced Center for Digital Applications at New York University, as well as a certificate in Auto-Cad from the School of Continuing and Professional Studies at New York University. The compendium of these courses has enabled me to use the computer as a painting medium, which is particularly reflected in my 2006-09 Series of Platonic Interactions. Between 2000 and 2003 I also used the computer in combination with the watercolor and drawing medium to explore the nature of visual infinity, by reinterpreting Persian Miniatures of the 15th century, deconstructing, and reconstructing them as a single movement of expression in the confluence of abstract geometry. From 2003 to 2005 I expanded on questions dealing with perspectives synthesizing concepts of pictorial space and infinity. The process of geometrization of gesture became the basis of my paintings which I equated with reaching for the infinite: the mystery and the poetry in one’s individual drama. From 2005 to the present, I have also served as an adjunct professor at Manhattan Pratt Institute, where I teach a course entitled Pictorial Perspective. I designed this course, a survey of methodologies from the Renaissance to the present on perspective drawing, for students of architecture: Its focus is infinity as an art form.

An excerpt from 2006-2009 Triangulation Series’ Manifesto came into being:

…by allowing painterly abstraction/plasticity to express both in form and content a kind of art that goes beyond a material world of signs. I choose the golden ratio 1 = 1618 as a consistent format for nonobjective abstraction which is clearly inherent of infinite congruency [a manifestation common to all known perspective methodologies], to breakdown a dialogue on the fluidity of the vehicle of painting and its geometry. At the same time, I establish a triangulation of the bare plane of the canvas which reaffirms its paradoxical nature as an object: where the fictitious flatness of the plane plays in suspension with the illusory spatial depth of forms expressed on it. Though immersed in 20th-century aesthetics, I strive neither for a specific historical movement nor for the postmodernist agenda. Simply, I look at making art as a "fleshy" product of human experiencing, a resultant of the maker’s own passion. Just as the idiosyncrasy of an individual, indivisible in nature, is blind to causality, an aesthetic frame embraces all its senses and the image is only the result or residue. Nonobjective, timeless, or even existential—in this sense—the image or Kunstgegenstand seeks not to explain what

Miro al arte en su fabricación como un testimonio de la experiencia humana. Para mí una imagen u objeto del arte no intenta explicar cuál es el significado de su experiencia; la imagen manifiesta al acto en sí mismo para provocar una interpretación. Así pues, abordo al arte escarpado por un regocijo visual y por una renovada pasión intelectual que consolida mi espíritu y su acoplamiento al medio. Mi trabajo es el vehículo a través del cual transporto una esencia psicológica en mi búsqueda por lo sublime. Tal como el mundo físico abjura de su causalidad, mi marco estético abraza dimensiones múltiples terminando en la imagen como su residuo.

Mi visión se ha desarrollado trazando los pasos que evocan a Cézanne y más allá, a los amos de épocas clásicas desde la perspectiva del expresionismo abstracto; asimilando a un mismo tiempo mi propia intuición americana, indígena latina sobre un mundo multicultural. Sobre el papel del autor, mantengo actualmente una posición de acercamiento que perennemente emerge contestando a la ortodoxia comercial del mercado del arte de hoy en día, firme en mi convicción que lo qué me define como artista es libertad absoluta: no una industrialización al estilo signatario, sino la capacidad de alcanzar toda clase de imágenes y pensamientos al azar.

Muestro ahora el trabajo hecho en el año 2003-04. En las acuarelas presento una serie inspirada por las miniaturas persas del décimo quinto siglo después de Mangu Khan que traduzco a la confluencia abstracta de los planos móviles rítmicos que evocan un acercamiento fenomenológico a la pintura. También he terminado este año una serie de imágenes llamada Auto-Da-Fe (Decantación y Ascensión) impresas en lonas grandes. Esta serie referencia a un vocabulario medieval, notable por el linchamiento de herejes durante la Inquisición y paralelo al castigo de los débiles en nuestra sociedad moderna. Estoy persiguiendo esta última serie como variantes del género del autorretrato para identificar una metáfora en las transmutaciones del ego.

Mas recientemente presento el montaje de una instalación ilustrada también por imágenes digitales, tridimensionales, la cual se titula Tiempo de Bajar la Cadena: Una Instalación Poética. Esta serie corresponde a una propuesta de exhibición multidisciplinaria dando por resultado un sardónico George W. Bush cómo es limpiado por un chorro de agua abajo de un tocador: jugando contra las absurdidades del ritual de ablución de Marcel Duchamp, la pilosidad de Donald Judd, y el fantasma de Andy Warhol. Este proyecto se propone parodiar la actual política disparatada reforzando una inclinación multi-cultural necesaria para purificar y transmutar nuestras propias vanidades. De tal manera se intenta disputar -- en una sociedad predominantemente conducida por la moda– la ortodoxia del mercado del arte de hoy. Descripción: Delante de una serie de seis, tocadores tridimensionales, blancos, con cintas rojas de Feng Shui atadas en la base de cada uno, hemos colocado una animación sobre una pantalla delantero-proyectada, que representa a W. como lo estarían limpiando con un chorro de agua abajo de un tocador. Las cintas rojas simbolizan un rezo para no perder la buena energía del Chi en el acto de la excreción. Del lado opuesto, tenemos 3 computadoras portátiles conectadas con los websites globales relacionados con . El espectador navega con nuestras propias secuencias originadas en el ordenador de las páginas del internet, así como los acoplamientos que sirven a la experiencia interactiva como refuerzo del concepto total. El intento es revelar las ediciones políticas y socioeconómicas relevantes al acto de la votación en USA y su posible consecuencia para el resto del mundo. Delimitando el espacio físico y colgando sobre los componentes interactivos en una L-forma, una serie de 6 impresiones dobles enmarcadas se suspenden del techo. Éstas son las series de La Invocación, representando medios de una presencia santa dentro de variaciones del mismo tocador en escala de dos dimensiones. El objetivo de la serie de La Invocación es impartir la experiencia de una opinión espacial incluida, y pide prestada y se amplía en los vocabularios preexistentes que mezclan elementos seculares y religiosos de diversas culturas en un arsenal entero. El texto incluye nombres de dioses hindúes, cristianos, musulmanes, y judíos fusionados como conceptos teológicos y entremezclados con entidades de compañías multinacionales. Se contratan así al cuerpo-texto y las imágenes como una metáfora de lucha para la energía que fijó de las simbiosis perspectival que iban de la representación visual a lo literal. El sonido de limpiar con un chorro de agua en los intervalos repetidos infunde el espacio incluido con el tema de la purificación.

2006-07- Adjunct Professor on Pictorial Perspective at The Manhattan Pratt Institute, NY, NY, USA.
2005-07-His current studio is located in Jersey City, NJ

My work Triangulation Series 2006-08 expands on questions dealing with perspectives synthesizing concepts of pictorial space and infinity: something I have worked on over the years. I have allowed painterly abstraction/plasticity to express both in form and content a kind of art that goes beyond a material world of signs; my paintings reach for the infinite—the mystery and the poetry in every man’s individual drama. Though immersed in 20th-century aesthetics, I neither strive for a specific historical movement nor for the postmodernist agenda. Simply, I look at making art as a "fleshy" product of human experience, a resultant of the maker’s time. Just as idiosyncratic nature is blind to causality, an aesthetic frame embraces all its senses and the image is the result or residue.

Autobiographical, ritualistic, or even devotional—in this sense—the image or Kunstgegenstand seeks not to explain what the meaning of experience is; rather, the image manifests itself, provoking interpretation.

There are no outside sources nor preconceived notions of the final composition. Gesturally and intuitively, I use the plane of the canvas as an active platform (in other words, a conversation, so to speak, takes place among the paint, the canvas and me as I apply paint onto the canvas.) In variegated densities, layer after layer—transparent or textural—the work transforms itself gradually by spectral accruement. In continuous dialogue, I work on several pieces at the same time so all are able to inform the other. An inner rhythm from each composition thus unfolds and guides the shifts and the construction of forms: burials, resurrections, exaltations, veilings, reattainments—all thanks to the gritty and sumptuous nature of the medium; a moodiness arises from the interlocutors with its acrid qualities of dissonance and complementary transparency. Indeed, it is color, as texture that establishes the emotional landscape of each piece. The finished work stands on its own as a concentration of multiple layers; each of the numerous strata is essential to the completeness. There is a sense of multidirectional movement in each of the works that acts on the viewer’s eye as he/she glances over the delineated shapes and peers through the entanglements of strokes and arabesques. The viewer comes away, I hope, with the sense of the works’ generative completeness of a universe making and remaking itself.

As I said at the beginning, I search for a degree of universality through the unifying mode from the masters of the classical West. It is they who lead me as I wander around in my space of today’s uncertain and leaderless being, where authority is seemingly derived from conflicting, confusing powers of disbelief. Freedom has come to us but its ethers and incongruities make us stagger.

artsnews/2007/11/26/34776.html

"Edith tells Carlos: I Don't Get Modern Art Either"
2007-11-26 until 2007-11-26
ABC - Desperate Housewives
Los Angeles, CA, USA United States of America

One of Premiere Portfolio Members', Ricardo Morin's, artworks made a cameo last week on ABC's Desperate Housewives (Season 4, "Can't Judge a Book By Its Cover", November 11, 2007). After obtaining a release, ABC copied the image and had it printed on canvas in order for the scene to make sense. You be the judge of what it means in the plot. Midway in the episode there is a scene revealing a punched hole in Carlos' newly acquired painting, Edie tells her estranged husband Carlos, "I don' get modern art either."

Ricardo Morin has promoted his work via services at since 2004.

If you ask whether this was the actual original work of art, the answer is no. The original which appears on both on the artist's website and , is a drawing on paper which sold earlier this year to a privatecollector. The work is Part One (Infinity Landscape or Triangulation One) of a triptych entitled "Triangulations". View the full Infinity Series at index.html

or more directly at:
Infinety Landscape

Morin comments: "I took it with aplomb that there was poetic vindication at the behest of the damaged artwork itself, as it was accidentally validated and strengthened in its internal geometry instead of weakened." View Ricardo Morin's full Portfolio of work at: portfolios/r/rfmorin/

You may view the full episode by selecting the link for Desperate Housewives followed by the episode at streaming/landing?lid=ABCCOMGlobalMenu&lpos=FEP

1980- Reed Foundation Award, 38th Western New York Show at the Albright Knox Art Gallery, Buffalo, NY USA
1980- Grant Gran Mariscal de Ayacucho, Venezuela
1976- Grant from the Ministry of Education, Venezuela
1976- Creative Scholarship from National Endowment for the Arts, Buffalo, NY, USA
1978- Whittet Scholarship, Buffalo, NY, USA