Scenes From The Opening of Favio Moreno's The Metaphysical at The Public Trust.

Favio Moreno hasn't always been exactly forthcoming when it comes to his work.

But, at the gallery opening of his new “The Metaphysical” exhibit at The Public Trust, each and every piece felt was strikingly personalized.

“These two are very personal to me,” the artist says, pointing out a pair of pieces in his show. “My mother is a very fair-skinned person. When I was a child, my she used to bathe us with rocks to try to keep our skin from darkening at the elbows.”

This, for the most part, is how his whole opening goes. Walking along the gallery walls, visitors perplexed by certain paintings find Moreno all too willing to explain his work.

It's an interesting exhibit. On small wooden canvases, the artist has painted vital organs as if they were gems and crystals. There's a heart, a brain, lungs — all pieces of Moreno that he has come to realize scientifically define him. On opposing walls, two paintings challenge each other directly; each is of a different palette, one lighter and one darker. The aim is to address Moreno's own mixed skin tones. Self-reflection is everywhere.

Which is, in part, why Moreno, who has always been known for his work under his The Bodega Negra moniker in the past, is showcasing “The Metaphysical” under his given name. The artist plans to continue with his more graphic- and illustrative-inclined works, but “The Metaphysical,” he explains, is his opportunity to share his deeper introspection as a human being first and an artist second.

It still rings true to his style: The use of pop color and gold in these new works proves just as alluring as in his past productions, even if features for “The Metaphysical” are cleaner and more minimalistic. Here, Moreno used simple hard-edged techniques in his painting so as to craft complicated conversations about health, creation and destruction.

Within “The Metaphysical,” Moreno portrays himself as slightly challenged by his existence — as a religious man and as a transient being. Each piece hanging on the gallery walls is a figurative piece of Moreno himself, from birth to cancellation.

On-lookers stand close to each painting, transfixed, before moving on to the next and continuing to examine closely and decipher the hidden messages within each. The work, albeit sensitive, carries a beauty.












4799_2

4799_3

4799_4

4799_5

4799_6

4799_7

4799_8

4799_9

4799_10

4799_11

4799_12

4799_13

4799_14

4799_15

4799_16

4799_17

4799_18

4799_19

4799_20

4799_21

4799_22

4799_23

4799_24

4799_25

4799_26

4799_27

4799_28

4799_29

4799_30

4799_31

4799_32

4799_33

4799_34

4799_35

4799_36

4799_37

4799_38

4799_39

4799_40

4799_41

4799_42

4799_43

4799_44

4799_45

4799_46

4799_47

4799_48

4799_49

4799_50

No more articles