The commonality of death: Bringing new life to Día de los Muertos
Sunday, November 1st, 2020 at 12:02am
ALBUQUERQUE, N.M. — Alex Chavez asks his viewers to cradle life and death in the same hand with his bravado brushwork.
Born and raised in East Los Angeles, the Taos artist came from Mexican farm workers on his father’s side and a mother born in Valdez near the Taos Ski Valley. Chavez moved to Taos in 1996.
“I always felt more balanced and more centered here,” he said.
Chavez grew up with family Day of the Dead altars and cemetery visits where his parents would leave gifts for long-lost loved ones.
“I guess it was a little odd,” he said. “I didn’t know what to make of it except Halloween.”
Although Chavez’s images brim with life, they remain seductive reminders of its ephemeral nature. He injects more personality than bones into his portraits, with thick brushstrokes of vibrant color replacing sunken cheekbones.
Chavez began his artistic practice working with watercolors and acrylics. His medium changed to oils when he moved to Taos. At that time, he was painting portraits.
“I tried to get into a group of artists showing every Saturday at the (Santa Fe) Railyard,” he said. “I got declined and they said we’re not sure if people would buy paintings of people they didn’t know.”
An angry Chavez returned home and painted all of the portraits white. It was a turning point. A book about American cultural denial of death cemented his trajectory. He decided to create a series of Day of the Dead paintings without noticeable cultural references such as entangled roses and Latin costumes.
The result was a universal kind of mash up.
“I am not spiritual at all,” Chavez said. “As I turn 60, to me, it’s just contemplation of life. The one thing we have in common is death. I don’t believe in an afterlife and I don’t believe in ghosts. On a purely scientific basis, I can’t justify that.
“These are little reminders that life is not forever.”
Artist Alex Chavez in the studio with his oil on canvas “Ash Moon Rising.”
Besides, he says he’s always been drawn to the Goth aesthetic.
“It’s a fine line to make them not look like zombies or ghouls,” he said.
“I did a Native American male figure from a photograph,” Chavez said. “I thought I’d just honor indigenous people.”
He created “Boheim,” with its crown of red roses, for Contemporary Spanish Market.
With her flowing hair and painted face, the woman in “Cold Breeze” appears more human than spectral. “Eternal” reveals a kissing couple in white makeup.
“Marqioness” captures a proud Latina in bold splendor. It was a commission from the Keep gallery owner.
“Every time he asks me to do things, I take it as a challenge,” Chavez said. “He’s probably the only commissions I take.”
Chavez gestates his portraits by drawing across the canvas with oils because he likes the immediacy. He next sketches in a skeletal line drawing, constantly refining the image with thick brushstrokes.
“The surface has a textural quality,” he said. “I try to get a real gestural and spontaneous look to it.”
“It’s the time of the season when the living is more capable of communing with the dead,” he explained. “There’s always that poetic statement that the veil is thinnest this time of year.”
Chavez graduated from the College of Fine Arts, California State College in Fullerton.
His work hangs in Santa Fe’s Museum of International Folk Art as well as in the National Hispanic Cultural Center. “Breaking Bad” producers bought one of his pieces to hang in the hit TV series. He earned a blue ribbon for his work in the 2007 Contemporary Hispanic Market.
IF YOU GO
WHAT: “Other Worldly Delights” by Alex Chavez
WHEN: 11 a.m.-5 p.m. Wednesday-Saturday; noon-5 p.m. Sunday or by appointment.
WHERE: Keep Contemporary, 142 Lincoln Ave., Santa Fe
CONTACT: 505-557-9574, keepcontemporary.com
“Art Motif Magazine’s next featured artist, Alex Chavez, is doing just that. Take a look at our interview with Mr. Chavez below to see how he has embraced the role of perpetual learner with utmost grace and gusto as he elevates his artistic game to a whole new masterful level.. ”
Alex Chavez of Taos is representative of the talented artists showing at the event. He grew up in Los Angeles, but his mother is originally from Valdez, a small village near Taos. She followed her older brother to the coast, where she eventually met Chavez’s father, who also had artistic talent but never pursued it professionally. “He usually gave away everything he made,” says Chavez, who adds that his father mainly liked to draw and create metal artwork. “There are a few pieces that me and my sisters still have. I inherited his talent.”
When Chavez was a second-grader, his teacher would have him outline a picture on the blackboard with chalk. The rest of the class would then color in the scene with colored chalk right behind him. “It was like a coloring book,” Chavez laughs. The budding artist eventually graduated from California State University-Fullerton with a fine arts degree.
In 1997 Chavez and his wife son and daughter bought some land and moved to Taos, where he dabbled in acrylics, watercolors and digital art before settling on oil as his primary medium of painting. “Oil is the most challenging thing,” he says. “It’s a whole different animal!” And loosely imitating his second-grade self, the artist likes to take a digital picture of a project once it’s started. Then he digitally experiments on it with different colors before deciding on a final concept.
He first juried into Contemporary Hispanic Market in 2008 but took a five-year hiatus after 2013, when a lot was happening in his life, including moves back to California to care for elderly relatives, then relocation to Albuquerque and Santa Fe before finally coming back to Taos.
“This year, Chavez won Contemporary Hispanic Market’s Poster Artist Award for his oil painting Opal.”
The painting is also depicted on a banner hanging from a light post in Taos as part of an extensive art installation featuring 60 artists. “I’m right there on Kit Carson [Road],” he beams. “I got a lot of exposure from that image. I’m very grateful!” Chavez says that he still owns Opal and has purposefully kept it out of the public eye until this year’s market, where he will put the 12-by-12-inch oil painting on a wood panel up for sale.