La historia del supuesto Van Gogh en Japón, que después de desembolsar 2.5 millones de libras en una aclamada subasta de Christie’s resultó ser una falsificación, capturó mi imaginación y me inspiró a explorar los límites de la autenticidad en el arte. Esta controversia me impulsó a crear mi propia serie de “falsos” Van Goghs, no como un acto de engaño, sino como un homenaje a la técnica y al espíritu del maestro holandés. Con pinceladas audaces y colores vibrantes, busqué capturar la esencia de los Girasoles originales, a la vez que tejía mi propia historia y perspectiva en cada lienzo. Esta experiencia fue una meditación sobre lo que hace que una obra de arte sea genuina: ¿es la mano que la pinta, la historia que cuenta o el impacto que tiene en quienes la contemplan? Cada pieza de mi colección es un diálogo entre la historia y la contemporaneidad, entre la veneración y la creación propia, y un tributo a la luz perenne que Van Gogh supo inmortalizar en sus obras, una luz que sigue inspirando a los artistas a encontrar su propia voz en el vasto mundo del arte.

The tale of the supposed Van Gogh in Japan, which after shelling out 2.5 million pounds at a prestigious Christie’s auction turned out to be a forgery, captured my imagination and inspired me to explore the boundaries of authenticity in art. This controversy spurred me to create my own series of “fake” Van Goghs, not as an act of deception but as a tribute to the master Dutch painter’s technique and spirit. With bold brushstrokes and vibrant colors, I sought to capture the essence of the original Sunflowers while weaving my own story and perspective into each canvas. This endeavor became a meditation on what makes a work of art genuine: Is it the hand that paints it, the story it tells, or the impact it has on those who behold it? Each piece in my collection is a dialogue between history and modernity, between reverence and personal creation, and a tribute to the everlasting light that Van Gogh managed to immortalize in his works, a light that continues to inspire artists to find their own voice in the vast world of art.

El “setting” o la configuración de una exposición de arte es un elemento esencial que va más allá de la mera exhibición de las obras. Un entorno cuidadosamente diseñado tiene el poder de transformar la percepción y la interacción del espectador con el arte. Cada detalle, desde la iluminación hasta la disposición de las piezas, contribuye a contar una historia y a crear un diálogo entre la obra y su audiencia. Un buen “setting” invita a la reflexión y a la inmersión, permitiendo que cada visitante tenga una experiencia personal y única. No es simplemente un fondo, sino un participante activo en la presentación artística, capaz de influir en el impacto emocional y cognitivo de la obra. En resumen, el “setting” es vital para la comunicación completa de la visión del artista y la resonancia de su trabajo.

Subconscientemente, hace un tiempo, comencé a trabajar en una serie de dibujos y pinturas que representan a los “protagonistas inadvertidos” o los no protagonistas olvidados: la mafia, la multitud; eso es lo que significa “muchedumbre”. Esta serie de pinturas muestra multitudes indiferentes y/o neutras en sus emociones haciéndose eco de nuestra indiferencia hacia las “Muchedumbres”. En este trabajo en particular se me ocurrio colocar en la muchedumbre a Picasso y sus amantes. Por lo menos las principales: Fernande Olivier, Olga Koklova, Francois Giro, Dora Maar, Marie Therese, Jacqueline Rogue, Eva Goul. La historia de Picasso como su arte es fascinante.

I had never truly delved into using art as a form of expression until I embarked on a deeply personal and cathartic journey with a series of multimedia paintings titled “Negros”. The four paintings were not conventional self-portraits but rather an exploration of my soul and how I imagined a woman I had strong feelings for perceived me. I was drawn to the style of Jean-Michel Basquiat, whose chaotic life reflected my own struggles. Each painting in the series captured a different aspect of my journey with this woman: from the confidence and success portrayed in “Negro Ejecutivo” to the joy and fulfillment in “Negro Atletico,” the overwhelming jealousy in “Negro Energumeno,” and the heartbreak and sadness in “Negro sin China.” Looking back, creating “Negros” was a deeply personal and cathartic experience that allowed me to gain a deeper understanding of my own emotional landscape. Through “Negros,” I discovered the incredible power of art as a means of self-expression and, perhaps, healing.

Art has always been a powerful means of expressing the deepest and most personal aspects of the human experience. For me, painting has been a way to delve into the soul and emotions that define us as individuals. In 2018, I embarked on a deeply personal and cathartic journey with a small series of multimedia paintings called “Negros,” which sought to explore my personal struggles with love and identity.

“Negros” is not a conventional self-portrait series but rather an exploration of my soul through four captivating paintings that offer a glimpse into how I perceived myself and how a woman I had strong feelings for saw me. The series takes its title from the black color of the portraits that match the nickname the woman gave me: “negro,” which means “black” in Spanish and was a term of endearment for my tanned skin. The black color also reflects the darkness and intensity of the emotions I experienced during that time, including feelings of pain, longing, and uncertainty.

The paintings were created in the style of Jean-Michel Basquiat, one of my favorite artists. His graphic language was especially suitable for this series, not only because of my admiration for his work but also because the chaos that defined his life reflects how I felt at that time. My use of Basquiat’s graphic approach also reflects the different phases he traversed as an artist: from a successful young artist to a drug addict who died of an overdose.

The first painting, “Negro Ejecutivo,” portrays me in a suit and tie, representing my professional role in the world and how this woman likely viewed me as a confident and successful corporate executive with a lot of intelligence and charisma.

The second painting in the series, titled “Negro Atletico,” portrays me in sportswear, reflecting my dedication to physical fitness and my desire to impress the woman for whom I had strong feelings. This painting captures a moment of joy and fulfillment, representing the most enjoyable time I spent with her where I felt physically and emotionally well.

The third painting in the series, titled “Negro Energumeno,” captures the overwhelming feeling of jealousy that consumed me at the time. I knew that the woman for whom I had strong feelings was in love with another man, and this period was one of great anguish for me. Looking back now, I realize that my distress was caused by a lack of communication and honesty rather than solely the betrayal. I was frustrated by not being told the truth, and this feeling of uncertainty and confusion manifested as jealousy.

Finally, the fourth painting, “Negro sin China,” depicts an almost skeletal figure with a bleeding heart, symbolizing the emotions I felt after the woman ended the relationship. This painting was created simultaneously with the other three, and as I worked on all of them, I found myself pouring my soul into them, allowing my emotions to take control and guide my brush.

Looking back, “Negros” was a deeply personal and cathartic experience that allowed me to confront and come to terms with my struggles of the time. These paintings were not just a physical representation of myself; they were a window into my soul and the emotions that define me. Through these works, I was able to explore my own inner world and gain a deeper understanding of my own emotional landscape. Art can be an incredible tool for self-expression and healing, and I encourage everyone to explore their emotions through artistic expression.

The art series “Parranda Vallenata” by Jean Carlo Sandy captures the essence of the Vallenato music genre, a traditional folk music of Colombia. The series began as an expression of Sandy’s love and enchantment for Vallenato, which he discovered during a trip to Valledupar in the 90s. Since then, the genre has inspired his artistic creations, which aim to document the musical format of Vallenato through paintings.

Vallenato is played with three traditional instruments: a small drum called the caja vallenata, which is played with bare hands and held between the knees, an indigenous instrument called guacharaca made of grooved and rasped wooden board and used to imitate the sound of the guacharaca bird, and finally, the accordion which was introduced to Colombia from Germany. This trio of instruments forms the core of Vallenato music, and Sandy aims to capture their essence in his paintings.

The series focuses on the women who typically did not play Vallenato music. Sandy’s paintings depict women who appear to be teasing and caressing the three instruments, breaking the stereotype that Vallenato music is a male-dominated genre. The artist aims to show that women can also express themselves through Vallenato and are an integral part of the musical genre.

The paintings are rich in color and texture, capturing the romanticism and sensuality of Vallenato music. The use of warm colors and soft brush strokes adds to the romantic feel of the paintings, while the women’s expressions and body language convey the sensuality and playfulness of the music. The paintings evoke a sense of nostalgia and longing, capturing the emotions that the music elicits in its listeners.

In capturing the essence of Vallenato, Sandy’s “Parranda Vallenata” series is a celebration of Colombian culture and heritage. The series is a tribute to the traditional music of Colombia and aims to capture its spirit through art. The paintings invite the viewer to experience the music and its emotions, creating a bridge between the art and music worlds.

Overall, Jean Carlo Sandy’s “Parranda Vallenata” series is a beautiful expression of his love for Vallenato music and a celebration of Colombian culture. The series captures the essence of the music through the depiction of the three traditional instruments and breaks the stereotype that Vallenato is a male-dominated genre by featuring women playing the instruments. Through his paintings, Sandy invites viewers to experience the beauty and emotion of Vallenato music and to appreciate its place in Colombian heritage.

El amor y encanto por el Vallenato llegó a mi vida en los 90’s y durante 2006, en un viaje a Valledupar, que confirme mi “affair” con este género musical colombiano. Desde entonces mi mente crea evocaciones que necesitan materializarse en obras que están relacionada con El Vallenato. “Parranda Vallenata” es el primer conjunto de trabajos relacionadas a este género y el objetivo es documentar pictóricamente el formato musical del vallenato.  El Vallenato típicamente se toca con tres instrumentos musicales: Un pequeño tambor (caja vallenata) sostenido entre las rodillas y tocado con las manos desnudas, una tradición traída a Colombia por esclavos africanos. La guacharaca, un instrumento indígena diseñado para imitar la llamada del ave guacharaca acanalado y de madera, raspado con un tenedor de tres puntas, utilizado inicialmente para rituales de caza y citas. Y finalmente, el acordeón, originario de Alemania. Uno podría argumentar que este formato es la definición del criollismo latinoamericano; en esta serie intenté capturar la esencia de ese formato donde mujeres – que típicamente no tocaban vallenatos – se muestran insinuando caricias a estos tres instrumentos. El lenguaje pictórico apunta a una tristeza y romanticismo que cuando los combino con la sensualidad del ritmo resultando en trabajos que me gustan mucho y que son cómplices de ese “affair” que comenzó en mi juventud y que de rato en rato, renace.

Este es el último grupo de trabajos que realice 2022. Siento que es una conjugación de toda mi experiencia como artista plástico. El nombre es llamativo y evoca sonrisas cuando lo menciono. Sin embargo, “Orgias” no solo tiene que ver con la definición que nos es más familiar, “Reunión de personas en la que se practica sexo sin moderación”, también se relaciona a un segundo significado de la palabra que tiene que ver con el “exceso o gran abundancia de algo. Una orgia de luz, de color, de sangre”. La combinación de ambas definiciones fue utilizada para la concepción de la Serie “orgias” donde los tres principales conceptos que se plasman en ella son: la figuración, el color, la abstracción, el retrato. Pese a que en el pasado manejé los tres criterios por separado, ahora se amalgaman y derriten en uno solo. Esto, resulta en un desorden que tiene sentido. Podría decir que esta serie plasma fidedignamente lo que, muchas veces, pasa por mi mente y donde existe un desorden y combinación de emociones y vivencias que tienen sentido: yo.

Subconscientemente, hace un tiempo, comencé a trabajar en una serie de dibujos y pinturas que representan a los “protagonistas inadvertidos” o los no protagonistas olvidados: la mafia, la multitud; eso es lo que significa “muchedumbre”. Me di cuenta de que, en cualquier evento, nuestros ojos están enfocados en lo que sucede en el escenario y casi nunca miramos hacia atrás a lo que sucede con la multitud que rodea ese evento. Sin embargo, gran parte del éxito de un “happening” es la multitud, “la muchedumbre”. Esta serie de pinturas muestra multitudes indiferentes y/o neutras en sus emociones haciéndose eco de nuestra indiferencia hacia las “Muchedumbres”. Plasmar esta última versión de muchedumbres, con las cuales voy jugando hace tiempo, fue muy divertido y es el producto de un proceso, verdaderamente, de técnicas mixtas que combinan técnicas digitales, acrílico, carboncillo, tinta, pasteles secos, pasteles grasos, oleos, etc. Estas “Muchedumbres” ahora son las protagonistas de este serie que es una de las que más me gusta.