the spot series started several years ago after an adventure in somerville, massachusetts.

i was invited to an art opening with this disclaimer: 'well, you see, there's an ahhhrt opening tonight but it's not a reeeal opening because it's just in this girl's house. and well, she's a really good painter but all she paints is her cats, so it's not reeeeally art. and well, she never leaves her house so she doesn't know very much'. these words uttered by a guy who had just been accepted into the yale fine arts graduate program for putting toilets in windows with clever titles.

the house, was the most incredible mishmash of mazes, trellises, courtyards, gardens, old crumbling buildings, an outdoor decaying amphitheatre, and a warehouse loft with gigantic studio in a lost corner on the somerville/cambridge line below the railroad line, that i have ever seen. why would anyone want to leave this magical world? and the paintings were wonderful; full of life and love.

the contrast of educated attitude and natural love of life inflamed my passion for the disregarded. i decided on that spot to only paint paintings of spot for a year. it's been several years now since this commitment to spot. i feel i'm only beginning to explore the possibilities of my subject. i have used the simplification of the question 'what should i paint' to enjoy the opportunity to concentrate on colour, form and line. i always seek the integration of ukeyo-e print sensibilities into the western tradition of oil painting.

hello, my name is tinúviel

     i have been engaged in rearranging, decorating, changing, my environment for as long as i can remember. as i grew up, i learned this process is often considered 'art'. i went briefly to an 'art' college. i became disillusioned within this institution. i learned definitions, vocabularies, hierarchies, elitisms, all focused to create a separation of art with life. or so i was understanding my teachings. i felt alienated from the processes i had been innately exploring for my entire life. i quit school, got a job, started drinking and smoking. this lasted 2 years. it bored me.
     i moved into an apartment in the boston area with no telephone and no heat. i set up an easel in my bedroom and started to paint again. i recorded my room, my self, i began to search for what i had lost. a long winter with little social contact, breaking ice in my water cup, extra sweaters, cold fingers, and my oil paints seeded a new determination to understand what 'art' is and whether i was a maker of such.
     it has now been 15 years since that apartment. i have had many adventures. i have been the art director of a conceptual punk band. i have instigated, organized and participated in guerilla art installations. i have been co-ceo and sole ceo of independent record labels encouraging girls to be heard as well as seen. i have knitted one-of-a-kind hats for most of the punks in olympia, washington circa 1991. i have organized and managed tours for bands in england and usa. i have seen my insistence of the similarities of punk and jazz, craft and art, evolve from radical concepts to accepted norms. and i've only just started!!
     i'm still learning how to define 'art', how to understand 'art', how to recognize 'art' but i have never stopped doing 'art'. art is communication. the art of communication fulfills life. how do we know when the communication is successful?

i'm still looking.

winter, 2004


september and october of 2003 i walked across northern spain following the ancient pilgrimage of santiago. returning to my studio at the end of october, the first day of eid, i began a series of works with the working title of 'la flecha amarilla'. this project has evolved from flat mixed media pieces to free form sculptural concrete. for more images and text please visit LA FLECHA AMARILLA.

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