“Analogía Subcutánea”
When asked what he would like people to experience while viewing his current work of Latin culture and retro art, local artist and photographer David Amoroso said the thought had not crossed his mind.
“I paint intuitively, so often there is not a preconceived notion of what the viewer should feel. I usually paint what I find visually interesting, and then the viewer can interpret or add meaning afterward. On many occasions, the meaning reveals itself after the fact.” Amoroso said. Such is the case in “Analogía Subcutánea” his upcoming exhibit on display at Cuba Cuba Gallery Café in Washington, DC.
The idea for “Analogía Subcutánea” came to him while purchasing a book on retro wallpaper during a visit to the American Visionary Art Museum in Baltimore.
“As I looked at the images in the book, I thought it would be good to incorporate the idea into my previous work, ‘Delicate/Violent.’ I was aware that I wanted the models intertwined into the background for “Analogía Subcutánea.” With the exception of a few people, images in this exhibit were included in photo sessions done in the past 7-12 years. This is an example of retro consistency,” Amoroso said. “I selected the wallpaper based on the way I felt about the model and the image. Somehow, I managed to find wallpaper designs that matched the unique personalities of the models I have used.”
His wallpaper designs not only serve as various backgrounds; however, they also serve as tattoos. “Most of my models have tattoos. I have deliberately chosen not to include them in my paintings so that the wallpaper patterns can serve as their tattoos. The models’ original tattoos are replaced with flowers,” Amoroso explained.
Borrego aka #341 who is from Mexico and whose portrait was included in one of Amoroso’s Immigration works 10 years ago, blends in with a background of red and pink roses and a shade of light green leaves. The shade of green is painted in a counter clock wise formation and matches the green in Borrego’s eyes.
Amoroso chose a red wall paper background covered with blue-centered white flowers for Rocael, #154. The first flower looks as if it is serving as a bow laying against his head, and the next two are positioned on his back and shoulder. Rocael is wearing a silver necklace strung with what appears to be small beads the same color as the flowers’ centers.
The symbolism of flowers can be complex - representing life, love and death in Amoroso’s retro, intuitive expressive Latino Art. Carlos #184 is intertwined with purple and pink flowers against a dark brown background. Carlos was also part of an exhibit Amoroso created for the “Day of the Dead,” a Mexican holiday celebrated internationally for people to gather and remember friends and family who have died.
The “Day of the Dead” has an emphasis on flowers. The scents and colors of Marigolds, Chrysanthemums and Gladiolas guide spirits to their respective altars. The flowers in Amoroso’s “Analogía Subcutánea” exhibit guide the viewers to explore above and below the surface of his subjects’ skin.
“Analogía Subcutánea” is on display at Cuba Cuba Gallery Café in Washington, DC from September 8th through 29th. The reception will be held on September 15th, from 6:30 pm to midnight.
