Before we get started. Here's a little letter I had written back in 1999...
"SO you've worked your ass off, explored many different ways to associate yourself with art and have come to a fork in the road. Do you teach in Mexico or do you show your family that their investment in your college education was well worth it and go Commercial?...OH yeah, you barley make enough right now to support yourself and that computer system was a very costly investment. How about this...take Bruce Lee, Sun Tzu and the " Loyal 47 Ronin" and apply it here. Meaning- focus on learning more about yourself, and from those around you. Its a very interesting time with this " Digital" thing and if you can learn more of it from a professional climate then do so. But if you do- enter that "New World" with keen eyes and ears- understand THEIR language, THEIR way of conducting and selling their business, matter of fact- learn what makes their culture STRONG.
But along the way- NEVER REGRET, NOR FORGET YOU'RE AN ARTIST.
Don't feel like you're selling out, giving up or disregarding the talent and soul you've nurtured since you were a child. But allow that inner child to learn more from a world that is so foreign and directly in contrast from where you have been finding comfort. So like the 47 Ronin, invest in patience for YOU WILL RETURN years from now with a smarter and more confident way to express and share your art.
So I'll see you back here when you're 40 ( wow that seems like a fucking long time...) and trust me you will be more appreciative of everything that you are willing to do and share"
- Orlando Arocena June 1999...before deciding to put fine art on the back burner
and jump into the commercial design market.
For sometime I've been asked and challenged by this one question: "How can "digital" ever be considered to be Fine Art, since there's no real tangible art to invest in?"...
yeah, here's my answer...
although I work in the digital, I pay reverence to the traditional art of transferring by hand onto wood.
So let me clarify, the vectors were NOT PRINTED directly onto wood
-BUT applied by a TRADITIONAL HAND TRANSFER technique.
Allowing me to bring two worlds together via Traversing the Vector.
POSITION LIMIT 2013 • 13" x 27.25"
PREDATOR AMONG US 2013 • 20.25" x 17"
TRANSFER AGENT 2013 • 22.75" x 16.75"
SHADOWS OF A DISTANT PAST 2013 • 25" x 16.5"
SLAVE TO FASHION 2013 • 21.75" x 16.75"
SCAVENGER LURE 2013 • 16.75" x 22.25"
DIABLO409 2013 • 29" x 23"
MATADORA 2013 • 21.5" x 16.5"
el PASAJE 2013 • 25.5" x 16.5"
DEATH of GAIA 2013 • 31" x 24"
HOLIDAY SMILE 2013 • 28" x 22.75"
PLAYED in the U.S.A. 2013 • 35.5" 23.75"
SERVITUDE 2013 • 23.75" x 16.5"
AGGRESSIVE CULTURE 2013 • 38" x 22"
Curated by Jason Patrick Voegele and Keith Schweitzer
The core focus
of the exhibit was to not only have a spectacular show- but to also introduce and educate the audience and the Fine Art establishments
with a visual introduction of how I express my ideas in through a digital medium that is VECTOR
. Each hand transfer original was visually paired with its linear skeleton.
Me having an indepth discussion regarding the "Gradio Initiative"...
(Left to Right) Fashion Model: Louise Donegan, Gotham songstress: Kendra Morris and the almighty Record Producer: Mike Dean.
What's a celebration of creativity and appreciation without a surprise gift?
Me with the gentlemen who run the Lower East Side Art scene of Nueva York and the Directors of the Lodge Gallery- Jason Patrick Voegele
and Keith Schweitzer
Recently spotlighted in Gallery Glass
online series- thanks to Director, Samantha Katz.
"If there is any real significant disparity between his personal and commercial work, then it would be that Arocena personal work has its own purpose, its own mission: to validate digital painting and design as a genuine modern art form."...
Quiet Lunch Magazine ( read more here
and keep an eye out for the next exhibition of the LODGE GALLERY's