Inclusion of New Works in the Mexican museums Catalog

Inclusion of New Works in the Mexican museums Catalog:

"The division bell" Mixed media / Paper. 61X46 cms

"Amy and the Criminals"  Mixed/Canvas 107 X 81 cms 

Acquired by Tax Administration Service in CDMX, MX Catalog: 0867_2021

Inclusion of New Works in the Federal Catalog

A series of my recent works has recently been added to the Mexican's  federal catalog, a development that brings me immense satisfaction and, above all, I perceive it as a "magical honor."

For me, this achievement acts as a sort of "time machine." The inclusion of these works in the national catalog not only gratifies me but also ensures traceability and easy access in the distant future.

With advancements in search technologies, it's conceivable that a descendant, perhaps in the year 2935, could stumble upon my ideas and my unique representation of the present. This notion of art transcending time, allowing us to connect with the truths of people in other eras, latitudes, and perhaps, in the remote future, even other worlds, strikes me as truly incredible. Will I ever know?

From the cataloged works, I've selected two to share with you, offering insights into their inspirations and providing links to my blog. Thanks to metadata, these works can be located by their distinctive "digital fingerprints."

The First Work: "The Division Bell" Medium: Mixed Media/Paper Dimensions: 61X46 cms

This piece is part of a series inspired by the music of Pink Floyd, a group active since the 60s and continuing until 2022. 

The Division Bell album, which supports the humanitarian crisis in Ukraine, explores themes of communication and decision-making. Themes of confrontation and self-defense in the artwork reflect a period in which I questioned the true nature of people and the necessity of distancing oneself from toxic relationships.

The Second Work: "Amy and the Criminals" Medium: Mixed Media/Canvas 

Dimensions: 107 X 81 cms

Belonging to the "Punk Baroque" series, this painting draws inspiration from classical academic drawings, intertwining various themes associated with art history with my calligraphic language. Titled "Amy and the Criminals," it is inspired by paintings such as Susanna and the Elders by Guido Reni and La casta Susana by Francisco Maura. 

The piece delves into the story of Susanna, a woman facing the vile advances of two elders, and incorporates elements from different versions of the narrative, exploring themes of morality, wisdom, and divine intervention.
In contemplating the duality of human nature—both bright and dark

This painting draws inspiration from two renowned works, "Susanna and the Elders" by Guido Reni and "La casta Susana" by Francisco Maura. The subject matter stems from the Story of Susanna, a brief independent text associated with the Book of Daniel. 

This narrative shares similarities with the Story of Bel and the Dragon within the same book, appearing in the Greek version of the Bible known as the Septuagint, dating back to the 3rd century BC, and also in another Greek version called Theodoción, published in the 2nd century of the Christian Era. This inclusion is consistent with early Christian traditions, including Orthodox, Eastern, and Catholic traditions.

Susanna, a beautiful woman and the wife of Joachim, a wealthy and influential Jew in the Babylonian Exile, becomes the target of desire for two elders appointed as judges among the Jews in exile in Babylon. The elders conspire to surprise Susanna alone and subject her to abuse.

In the later version by Theodocion, additional details suggest that Susanna was preparing to bathe with oils and aromatic essences at the precise moment of being intercepted by the elders. The impact of these details, referred to as the "bath of Susanna," influenced artists, musicians, and writers in the Western World who closely followed the saga according to Theodocion's late version.

In the Ancient Greek text of the Book of Daniel found in the LXX Greek Bible, it does not mention Susanna taking a bath. Instead, it narrates how the vile old men surprise Susanna while she walks through her husband's orchard, pressuring her to give in to them sexually. Susanna, however, stands firm and responds with a declaration of her faith, expressing that death is preferable to succumbing to their advances.

Rejected by Susanna, the two old judges falsely accuse her of adultery, leading to a trial where they provide misleading testimony. Theodocion's version adds dramatic elements, depicting Susanna appealing for divine intervention. In contrast, the original text of the LXX is more reserved, stating that Susanna cried out for divine help while bent over.

During the trial, the false witnesses, the two old men, face inconsistency and contradiction when questioned by the young prophet Daniel. 

They offer conflicting statements about the tree under which they claim to have seen Susanna with her supposed lover—one says "Under a mastic tree," and the other says "Under an oak tree." Exposed by their inconsistent testimonies, the charges against Susanna are overturned, and the two old men are executed in her place.

The moral lesson of this story centers on Susanna's unwavering commitment to God, choosing to uphold her principles despite the risk of losing her privileges as a noble and wealthy lady. It contrasts the corrupt behavior of the elder judges with the wisdom and virtue of a young boy, illustrating the idea that God supports the righteous who endure suffering at the hands of the wicked rather than compromising their principles.

The inherent duality in human nature, both bright and dark, underscores the complexity of being human.