In celebration of America’s freedom Artist Rene Sepulveda presents “Repression to Freedom” an interpretative window display showcasing the natural beauty of the white sand’s region and a natural view of freedom.
The art installation is composed of all-natural elements of fallen tree stumps, recycled metals, and other earthly elements to create a natural desert scene of color and beauty.
The scene begins with a fallen barbed wire fence. The tree stump it is attached to is an actual original barbed wire fallen fence representing the struggle of confinement and the repression of the barbed wire. Within the installation the barbed wire manifests itself into a scorpion representing change in the forms of death and rebirth. The Scorpion indicates there are lessons of our past lives that die off. Note the scorpion is reaching to leave the scene whereas the bluebirds look down from their corner perch onto the desert scene as a symbol of hope, love, and renewal as a part of many Native American legends. They are complimented by the nest of wise desert owls within the turquoise cholla cactus representing the wisdom of the desert. Along the fallen woods nestling into the tree trunks is the colorful gecko representing self-protection and re-growth that humanity and nature goes through. The customary gecko circle symbolizes the natural cycle of life.
The dominance of the turquoise coloring, center to the exhibit represents strength, skill, or even invincibility of the natural elements of the desert.
Center to the exhibit is the manifestation of the Native American designed turquoise accented pot with the turquoise tree root. containing the hanging gourds of sand pouring endlessly into the white sands symbolic of our never-ending unity with nature and the natural elements of the desert.
Throughout the exhibit are Roadrunners. The Roadrunner is a sign of Epiphany, Illumination and that something in our life has been healed on the spiritual and physical levels. The Roadrunner is a sign to the completion of a phase, a transformation of goal in life. The several Roadrunners in the scene symbolizes how we move forward to new and greater horizons. That within the desert we move on with renewed hope.
The scene ends with large moss-covered tree trunk of copper coloring and hanging above it is a Zia with an eagle soaring through the outline of the Zia. The Zia sun symbol represents the four cardinal directions, the four seasons of the year, the four period of each day (morning, noon, evening, and night), and the four seasons of life (childhood, youth, middle age, and old age) paired with the soaring eagle. The eagle caps or completes the artist installation with its acute eyesight, the eagle has come to embody an all-seeing EYE. The eagle is the solar symbol linked to the Zia thus representing the sky gods. It signifies inspiration, release from bondage, victory, longevity, speed, pride; and is the emblem for release from the constraints of the bondage of the barbed wire at the beginning of the installation.
As our eyes pull away from the artistic beauty of the display we are left with a feeling of renewal and hope from the sands of the desert to the vast sky above us.
Bernard Cigrand, a small-town Wisconsin teacher, originated the idea for an annual flag day, to be celebrated across the country every June 14, in 1885. That year, he led his school in the first formal observance of the holiday. Cigrand, who later changed careers and practiced dentistry in Illinois, continued to promote his concept and advocate respect for the flag throughout his life.
But prior to that when the American Revolutionbroke out in 1775, the colonists weren’t fighting united under a single flag. Instead, most regiments participating in the war for independence against the British fought under their own flags. In June of 1775, the Second Continental Congress met in Philadelphia to create the Continental Army—a unified colonial fighting force—with the hopes of more organized battle against its colonial oppressors. This led to the creation of what was, essentially, the first “American” flag, the Continental Colors.
For some, this flag, which was comprised of 13 red and white alternating stripes and a Union Jack in the corner, was too similar to that of the British. George Washington soon realized that flying a flag that was even remotely close to the British flag was not a great confidence-builder for the revolutionary effort, so he turned his efforts towards creating a new symbol of freedom for the soon-to-be fledgling nation.
On June 14, 1777, the Second Continental Congress took a break from writing the Articles of Confederation and passed a resolution stating that “the flag of the United States be 13 stripes, alternate red and white,” and that “the union be 13 stars, white in a blue field, representing a new constellation.”
In response to the petition, Congress passed the Flag Act of 1777. It reads in the Journals of the Continental Congress:
Resolved, That the flag of the thirteen United States be thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new constellation.
The date commemorates the adoption of the flag of the United States by the Second Continental Congress on June 14, 1777. The flag was called the Flag Resolution of 1777 and was the first of many iterations of what would become the American flag we recognize today.
Betsy Ross Didn’t Design the Original Flag
Betsy Ross, born Elizabeth Phoebe Griscom, is widely credited with making the first modern American flag in 1776. Folklore states it occurred after General George Washington visited her home at 239 Arch Street in Philadelphia. Ross was the wife of John Ross, a member of the Pennsylvania Provincial Militia. John was killed in the early stages of the war. What is known is that Betsy Ross worked in upholstery and helped war efforts by making tents and blankets.
The story of Ross and her presenting the American flag to Washington after he gave her a sketch of what he wanted didn’t become part of “history” until 1876 at Centennial celebrations of the American Revolution. Around that year Ross’s grandson, William J. Canby, wrote a research paper for the Historical Society of Pennsylvania claiming that his grandmother had made the first American flag.
The real designer of the American flag was Francis Hopkinson, a signer of the the Declaration of Independence as a delegate from New Jersey. Hopkinson was the Chairman of the Continental Navy Board’s Middle Department and also designed a flag for them around 1777, too.
Hopkinson was the only person to make the claim of inventing the American flag in his lifetime until the Betsy Ross apocrypha surfaced a hundred years later. Substantiating Hopkinson’s claims are preserved bills he sent to Congress for his work.
According to the United States Flag Organization:
Apparently acting on a request from Congress, Hopkinson sent a detailed bill on June 6th, and it was sent to the auditor general, James Milligan. He sent it to the commissioners of the Chamber of Accounts, who replied six days later on June 12th that they were of the opinion that the charges were reasonable and ought to be paid.
Flag Day itself was first established by President Woodrow Wilson in 1914. Wilson was also the first president to recognize Mother’s Day and Father’s Day, the latter of which is this Sunday. However, Flag Day didn’t officially become established until 1949 by an act of Congress.
Flag Day is not unique to the United States and many countries have specific flag days. Dates of flag days vary across the world, but most dates were chosen to mark a significant national event like an independence day, a declaration of independence, an important military victory, the creation of the flag, or something similar to our Armed Forces Day.
Prior to Flag Day, June 14, 1923, neither the federal government nor the states had official guidelines governing the display of the United States’ flag. On that date, the National Flag Code was constructed by representatives of over 68 organizations, under the auspices of the National Americanism Commission of the American Legion. The code drafted by that conference was printed by the national organization of the American Legion and given nationwide distribution.
On June 22, 1942, the code became Public Law 77-623; chapter 435. Little had changed in the code since the Flag Day 1923 Conference. The most notable change was the removal of the Bellamy salutedue to its similarities to the Hitler salute.
The Army Specialist Greg L. Chambers Federal Flag Code Amendment Act of 2007 added a provision to allow governors, or the mayor of the District of Columbia, to proclaim that the flag be flown at half-staff upon the death of a member of the Armed Forces from any State, territory, or possession who died while serving on active duty. The provision directs federal facilities in the area covered by the governor or mayor of the District of Columbia to fly the flag at half-staff consistent with such proclamations.
This famous name was coined by Captain William Driver, ship master of Salem, Massachusetts, in 1831. As he was leaving on one of his many voyages aboard the brig Charles Doggett friends presented him with a beautiful American flag of twenty four stars. As the banner opened to the ocean breeze for the first time, he exclaimed “Old Glory!” (This voyage would climax with the rescue of the mutineers of the Bounty).
Captain Driver retired to Nashville in 1837, taking his treasured American flag from his sea days with him. By the time the Civil War erupted, most everyone in and around Nashville recognized Captain Driver’s “Old Glory.” When Tennessee seceded from the Union, Rebels were determined to destroy his flag, but repeated searches revealed no trace of the hated banner.
Then on February 25th, 1862, Union forces captured Nashville and raised the American flag over the capital. It was a rather small ensign and immediately folks began asking Captain Driver if “Old Glory” still existed. Happy to have soldiers with him this time, Captain Driver went home and began ripping at the seams of his bed cover. As the stitches holding the quilt-top to the batting unraveled, the onlookers peered inside and saw the 24-starred original “Old Glory”!
Captain Driver gently gathered up the flag and returned with the soldiers to the capitol. Though he was sixty years old, the Captain climbed up to the tower to replace the smaller banner with his beloved flag. The Sixth Ohio Regiment cheered and saluted – and later adopted the nickname “Old Glory” as their own, telling and re-telling the story of Captain Driver’s devotion to the flag we still honor today.
Captain Driver’s grave is located in the old Nashville City Cemetery and is one of three (3) places authorized by act of Congress where the Flag of the United States may be flown 24 hours a day.
A caption above a faded black and white picture in the book, The Stars and the Stripes, states that ‘Old Glory’ may no longer be opened to be photographed, and no color photograph is available.” Visible in the photo in the lower right corner of the canton is an applique anchor, Captain Driver’s very personal note. “Old Glory” is the most illustrious of a number of flags – both Northern and Confederate – reputed to have been similarly hidden, then later revealed as times changed. The flag was given to his granddaughter or niece who later donated it to the Smithsonian.
So on this flag day rather you are celebrating in Alamogordo, Nashville or the beaches of California, let us remember no party and no ideology owns the American flag. The American flag is the people’s flag with a long history that is a twist of tales and reverence.
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In case you missed the jovial guy on a bike zipping around Alamogordo yesterday, you missed a man of commitment and compassion.
Meet Mike Swartz. While some people have sat back and complained during this dark period of Covid-19 and the new awakening as we come out of it, there are some individuals that didn’t just sit back in self pity but some individuals set a goal and a path forward to help the greater good of their community and followed through on that path forward in enlightenment and action.A view of Bill Swartz journey
Mike Swartz is one of those individuals. He is bicycling across America from Harbor New Jersey to San Diego to raise awareness and funds for charity. His solo ride of about 4000 miles in total down the east coast and across the country is to raise money for Bell Socialization Services which began in 1966 as “The Bell Club,” a social gathering for people being discharged from local psychiatric hospitals into the greater York, PA community. Created with support of the York chapter of Mental Health America and a financial donation from the York Jaycees, early Bell programs included meals and activities hosted by churches and organizations such as the Catholic Women’s Club, the Jewish War Veteran’s Auxilliary, the Jaycees Wives, etc., as well as dances, presentations, and outings.
Over the years Bell services continued to evolve and expand and, today, about 2,500 people are served each year through dozens of programs offering an array of housing and basic living supports, guided by our Vision, Mission, & Values. Many Bell programs are licensed and/or accredited to meet strict standards of quality care. With more than 50 properties throughout York and Adams counties, people using Bell services are an integral part of the greater community.
You can follow along the remaining parts of Mr. Swartz journey and read his commentary and blog over his encounters along the way ata variety of social media pages which are devoted to this bicycle ride. You’ll see photos, video clips and stories about my experiences and the interesting folks I meet as I bicycle across America. * FACEBOOK: https://www.facebook.com/coasttocoastbicycleride/ * INSTAGRAM: @billswartz3 * WEBSITE for this COASTtoCOASTbicycleride: www.thisclearbluesky.com
We were fortunate to meet this jovial man at Roadrunner Emporium on New York Avenue yesterday. He explained his journey and his passion and moved us with his experiences.
Mr Swartz said he was attracted to the street and to come into Roadrunner Emporium as he heard John a Lennon’s famous “Imagine” being coming from the Emporium and he knew from that inspiring sound he had to check out the Emporium and the historic New York Avenue. Proving once again “music unites us.”Artist Dalia Lopez Halloway and Author Chris Edwards Photographed by Bill Swartz on His Journey
His journey reminds us all that there are good people out there, not just sitting back but taking action from the darkness to bring light to causes and issues that are important to the community and the nation at large.
Humanity is out there if we just keep our eyes open and look for it. Good luck Mr. Swartz.
And to make a donation to the charity follow the link attached:
“Angelina” Flowing Ivy, Abstract Wooden Basket and Lava Rock Natural Native American Inspired Sculpture by Artist Rene Sepulveda
“Angelina” A Flowing Ivy, Abstract Wood Basket and Lava Rock Natural Sculpture by the Artist Rene Sepulveda was crafted as a piece to honor his 80-year-old aunt Bertha Angelina Sepulveda Rommel. The historic symbolism of ivy, central to the sculpture by Rene Sepulveda as it reaches out of the wooden basket deals with connections of family, because of its propensity to interweave in growth. Ever furrowing and intertwining, the ivy is an example of the twists and turns our relationships and family connections take – but also a testimony to the long-lasting connections and bonds we form that last over the years. Ivy is further considered a symbol of survival and determination for the same reasons. It seems to be virtually indestructible and will often return after it has suffered damage or has been severely cut back symbolic of the indestructability of family.
This is an example of the human spirit and the strength we all have, to carry on regardless of how harrowing our setbacks may have been.
The basket is one of humankind’s oldest art forms, and it is certainly an ethnic and cultural icon filled with myth and motif, religion and symbolism, and decoration as well as usefulness. Taping in the artist Native American heritage of his ancestors he felt a wooden pieced basket was an essential part of this sculpture due to its symbolism and history as a not to his family roots. The Native Americans may well have left the greatest legacy to the world of baskets. The Indians of Arizona and New Mexico made basket-molded pottery from 5000 to 1000 B.C. as part of the earliest basket heritage. Their baskets (many of which have survived in gravesites) are heralded as a pure art form and one that was created not only by a primitive people but also by women. Basketry extended into the making of many other materials the Indians used daily including fishing nets, animal and fish snares, cooking utensils that were so finely woven that they were waterproof, ceremonial costumes and baskets, and even plaques. The Hopi, Apache, and other Pueblo tribes made coiled baskets with bold decorations and geometric patterns of both dyed and natural fibers. Thus, the bold geometric coloring and shape of the basket crafted into this artistic sculptured work by Rene Sepulveda.
The wood of which the basket hangs is of fallen branches that were gathered near the Apache Mescalero tribal basin and symbolize the strength of eternity. This strength lives on and transcends life and death representing the timeless strength of family.
The 5000-year-old lava rock of which is the sculptures base is composed of rock from the Valley of the Fire lava flow originating at Little Black Peak in Southern New Mexico. The selection of this material as the base was to signify the strength of the earth from deep within, as lava flows deep within the earth and periodically erupts, so do the emotional ties of a family. Those ties and emotional connections are buried deep and carry from one generation to the next, and on occasion erupt to show their true inner strength and strong bonds as the foundation of family.
Finally, the piece is capped with a metal Zia symbol. Given that this artistic creation was conceptualized, crafted and created with natural elements of New Mexico, Artist Rene Sepulveda found it only fitting to cap the piece with the Zia symbol which is sacred to the original people of New Mexico, from the Zia Pueblo and who regard the sun as sacred. Four is a sacred number of the Zia and can be found repeated in the points radiating from the circle.
The number four is embodied in: The compass (north, south, east, and west) The seasons of the year (spring, summer, autumn and winter) The periods of each day (morning, noon, evening and night) The stages of life (childhood, youth, middle years and elderhood) The sacred aspects one must develop (a strong body, a clear mind, a pure spirit, and a devotion to the well-being of others)
That final aspect in symbolism of the Zia is what ties this artistic creation of Rene Sepulveda, entitled Angeline, together in each of those characteristics that speak of his aunt. She has always been one from youth to age 80 of strong body, clear mind, pure spirit and devotion to her family as well as the well-being of others.
Each component of this work of art independently is of beauty, but when combined into a sculptured work named “Angelina,” from the heart and mind of the Artist, Rene Sepulveda; one sees it spiritual relevance and reverence to family, presented as a visual piece of artistic beauty.
Available to be seen as part of the Valley of The Fire Collection Exhibition of Works of Artist Rene Sepulveda at 2nd Life Boutique and Gallery at Roadrunner Emporium and Fine Art Gallery, 928 New York Avenue, Alamogordo, New Mexico and is available online to ship for free anywhere in the US at https://www.etsy.com/listing/1007837864
Congratulations to the new owner of Artist Rene Sepulveda’s Abstract Sculpture titled “High Desert Bloom.” This original abstract was showcased on exhibition at the Roadrunner Emporium & Gallery at the 2nd Life Art Gallery, 928 New York Avenue, Alamogordo, New Mexico and is SOLD and enroute to a collector of fine art in Austin, Texas, USA.
About the Piece: “High Desert Bloom” Artist Rene Sepulveda created this one-of-a-kind nod to the New Mexico high desert and white sands located near Alamogordo New Mexico. The piece was crafted with 5000-year-old Lava Rock from the Valley of the Fire Lave Flow, combined with ancient fallen driftwood and replicas of desert flowers that create a unique and inspiring view of natures “High Desert Bloom”. This one-of-a-kind piece is heavy, crafted from ancient lava flow rich in iron and heavy metals. The wood is ancient from the Lincoln Forest and the flowers are replicas of flowers colorized to the artists imagination and found in the High New Mexico Desert.
About the Collection: Artist Rene Sepulveda reaches from his Native American Tarahumara tribal roots and creates works of art from 5000-year-old New Mexican Volcanic Lava Rock paired with recycled metals fallen driftwoods to create art of nature for home, office or outdoor spaces. Highly prized and highly collectable. Approximately 5,000 years ago, Little Black Peak located in Southern New Mexico erupted and flowed 44 miles into the Tularosa Basin, filling the basin with molten rock. The resulting lava flow is four to six miles wide, 160 feet thick and covers 125 square miles. From a distance, the region appears as barren rock but when you visit the nature trails there are many varieties of flowers, cactus, trees, and bushes typical of the Chihuahuan desert. Animals include a variety of desert ants, bugs, bats, roadrunners, quail, cottontails, mule deer, barberry sheep, lizards, great horned owls, burrowing owls, turkey vultures, hawks, gnat catchers, cactus wrens, sparrows, and golden eagles and more.
This collection of works crafted by Artist Rene Sepulveda is inspired by his Tarahumara tribal roots as a tribute to the wildlife, flowers, cactus, and beauty of the region, crafted from recycled lava, woods and metals found from the Tularosa Basin and Sacramento Basin. The molten lava rock is repurposed rock pulled from abandoned homes and abandoned locations; repurposed into a “second life” as an “artistic sculpture” to bring joy and value to the owner of each unique piece.
Where in New Mexico would someone go to see original Root Art, Cholla Desert Cactus Art, Sculptures of Recycled Metals combined with 5000 year old lava rock, original paintings, New Mexico Photography and more? Santa Fe? Albuquerque? No, to see these original works of art and much much more one must travel to Alamogordo New Mexico’s Main Street, Roadrunner Emporium, 928 New York Avenue Alamogordo…
Roadrunner Emporium hosts 40 partnered vendors, Artist Rene Sepulveda showcases his works that have been purchased by individuals in Europe, Mexico, Canada and throughout the United State. Rene Sepulveda does not take his art work too serous and approaches with whimsical insights but serious in their color, texture and use of natural elements procured from the natural environment.
Rene Sepulveda is credited with starting the “colorlicious styling & textured design’s” trend for in home, patio decor and fine art piece designs. His captivating sculptures crafted of Cholla Art, 5000 year old Lava Rock and/or recycled metals are being received to much acclaim and are bringing a little touch of New Mexico’s Desert in the form of artist sculptures using Cholla Cactus Skeleton, lava and metals to homes and offices throughout America.
Rene Sepulveda’s newest released collection released 3/14/2021 is “The Valley of the Fires Sculpture Collection” highlights the use of natural wonders from the Tularosa Basin combining recycled 5000 year old lava rock with recycled metals and/or distressed driftwood to create one of kind unique artistic wonders ideal for the home, patio or professional office spaces. His items ship around the world but are hosted at Roadrunner Emporium, Alamogordo.
Per the artist, “I believe that the artistry of Cholla Art, Tree Trunk Art, Root Art or Lava Rock and Metal works are unique and not well understood, in that most homeowners or business owners don’t have the knowledge of the beauty these pieces can bring to their environment. Most people have not been exposed to these kinds of sculptured works, very few artists create art with these mediums as a canvas. Most people don’t know the sense of Zen or harmony that is created by including these pieces into the home, office, or business environment. However those that venture south to Alamogordo are in for a treat. A treat of the senses. When they visit downtown Alamogordo they will find a gem of a art gallery that is part art gallery, part antiquing paradise, and more. One never knows what surprise awaits the customer that strolls into Roadrunner Emporium, Alamogordo. “
Delia Lopez Holloway showcases her works of wonder, complex design and interpretative expression on canvas. A Fine Arts Major of New Mexico State University. Her artistic creations are an expression of love, joy, beauty, calm and on occasion the exact opposite. She believes art show provoke and inspire.
Photography such as from the infamous California nature photographer Janet Thornton. Scenes from California, New Mexico and the natural environment around us…
The photography of history and abandon of New Mexico by Author, Display Artist and Photographer Chris Edwards 2nd Life Gallery, Roadrunner Emporium, 928 New York Avenue Alamogordo.
The Roadrunner Emporium, 928 New York Avenue Alamogordo is owned by Debra Reyes and is dedicated to the enrichment of the cultural arts and downtown redevelopment of the Alamogordo Main Street District. It is located in a historic building that is clean, fresh and historic. Come check out the best art gallery in Alamogordo for art and more 10 to 5 daily. Closed Sundays.
Rene Sepulveda former NCAA Award winning Track and Field Coach, Rehabilitative Coachturned artist creates sculptured works. One art critic recently said of his works that they are “incisive meditations of colorishis designs, shapes and composition complimenting natures wonders using lava rocks, tree roots, tree trunks, bark, cholla desert cactus as components of his canvas.”
Artist Rene Sepulveda’s carefully constructed sculptures and art installations are abstract interpretative works that rely heavily on the influence of nature for texture and symmetry, for rural to urban spaces.
We sat down with the man who wears many hats; Former Award Winning NCAA Coach, Rehabilitative Fitness Coach, Author and Artist Rene Sepulveda, to find out more about his processes, inspiration, and his unique artistic journey with the release of his most recent exhibition the “Valley of The Fire Collection” With this interview he is also releasing two sculptured works, a tree trunk abstract sculptured piece called “Baily Canyon” which is a stunning blend of a hallowed out tree trunk textured, preserved and intriguingly colored then placed on a bed of lava rock and combined with local treated and colored natural cactus to make a stunning visual display.
The second piece to be released today he calls “Stark NM” it is a combination natural wood, recycled metals and woods crafted into a one of a kind abstract piece sitting on a Zia stone with lava. This intricate piece is a dazzling array of colors that inspires awe in its bold colors and unusual textures.
How would you describe the sculptures and artwork you create?
“My goal is to create compelling works that draw the viewer in to explore the underlying structure of color, texture and the natural elements created by mother nature. My hope is that the initial reaction is an emotional response to the color relationships, the contrasting textures between the flat and fluid paint and the hard edges and gestural marks that are embedded in the pieces as marks of nature. I want the person to enjoy my sculptured pieces and to be rewarded as they soak into the piece so that the placing of each element, the precise color balance, the textures, and carefully calibrated proportions of my sculptures are revealed to our inner senses. The inspiration comes from both natural and man-made elements and share my preoccupation with patterns, colors, textures, and the natural elements of nature.”
What message do you want to get across with your artistic works?
“I tap into my Native American roots. I believe I’m empowered by my grandfather’s ancestors in how I commune with nature to bring harmony and balance to my art pieces. I believe nature is complex in texture color. I know that harmony can be achieved to create an appealing and interesting work of art when we reconcile vastly different and contrasting colors and textures using techniques and processes that I’ve created to enhance natures work to be placed into an urban or rural household, office, or place of business.
I believe that the artistry of Cholla Art, Tree Trunk Art, Root Art or Lava Rock and Metal works are unique and not well understood, in that most homeowners or business owners don’t have the knowledge of the beauty these pieces can bring to their environment.
Most people have not been exposed to these kinds of sculptured works, very few artists create art with these mediums as a canvas.
Most people don’t know the sense of Zen or harmony that is created by including these pieces into the home, office, or business environment.
I’ve created works where chance takes over as the prominent sense and caused me to be fluid with colors and textures. The colors and textures then take over my mind and through my hands flows the wonder of color and texture. Sometimes it flows through me like a force of gravity down the surface of the art piece showing a series textures and colors from my mind that are then frozen in time to create a timeless piece of art.
Several of my creations become art dense in color and texture with very defined creations begun my nature that eventually show a high degree of control but are complex in their inspiration of color. I see this as the human impact on the natural world that is expressed with the culmination of taking objects from nature such as complex root art systems, tree trunks, unique fallen forest wood pieces, 5000 year old lava rock, unique cholla desert cactus skeletons and using them as the canvas for human expression of color and texture.
Patterns of all kinds fascinate me, including the hidden structures of living things. Tinting, repeat sequences, geometric shapes and grids, pre-historic symbols and pottery designs and the underlying laws that dictate how the natural world evolves influences my craft. The influence of all of that finds a way into my work, which I don’t really consider to be pure color or texture abstraction. Maybe interpretative abstract sculpturing is a better term for my works. I use very defined textures but counterbalance with color and the canvas of nature in my sculptured works. My work is all inspired by something I have seen or felt which has sparked my imagination. Nature is the foundation of hope for the world we live. That hope comes with a responsibility to acknowledge natures role in our daily lives, to embrace it and to appreciate its influence, by its placement, through art into our homes, offices, or businesses.”
How did you come to mixing texturing and color design in your natural art sculptures?
“Textures and colors of all kinds have always intrigued me, most especially the colors and textures of nature. When I was young and an Olympic Trials Athlete, I would run 100s of miles weekly in the mountains, the desert floor and in the woods and always along those runs, I could almost feel the colors and the textures of the natural elements around me.
So when I began exploring my artistic side, the ideas of color and texture were a natural expression of what I had absorbed from my time outdoors. On my travels around the world, I’m always attracted to the colors and textures of our ancient ancestors. The geometric abstraction in colors and shapes of the Inca’s in Peru, the geometry of the Pyramids in Egypt, my travels to my mother’s homeland of Ireland, the imaging of my grandfather’s ancestral tribes of the Tarahumara; each imprinted on my mind. Those influences’ flow through me into each art piece I create with color, textures, and design.”
Do specific colors and forms hold definite meanings in your work?
“For me color complemented with texturing is the most important part of creating art to be enjoyed. The relationship between the size, shape, texture, and color of each art form to ensure it compliments natures handiwork is of highest priority to me. The dominance of each color, the warmth or coolness, flatness, or texture, as well as denseness and fluidity, are hopefully resolved so that there is a restless balance that is appealing to the eyes and inspires the heart of those who are viewing my creations. My appreciation for color and texture began with me, in appreciate of Georgia Totto O’Keeffe’s paintings of enlarged flowers and New Mexico landscapes. O’Keeffe recognized as the Mother of American modernism certainly had an influence on me. Similarly Antoni Gaudi of Barcelona remarkable for his range of forms, textures, and for the free, expressive way in which these elements of his art seem to be composed have always inspired my own appreciation for colors and textures.
The colors and textured in each piece have symbolic meaning for me. The earth colors are often mixed directly with the piece to form the landscaped base and then the real creativity begins. I see color and texture as an evolutionary process, building up layers and design elements to reflect light and darkness differently with each vantage point. In some designs the colors of the urban world show though as they are attached to a piece created in the natural environment of forest or deserts. What is crafted is a contrast that is appealing and inspiring to the observer. Colors of reds and yellows remind me of the sunsets within nature and the natural elements of sunflowers which bring joy. The various grays, blacks and coppers define a more commercial manufactured world but when combined with the textures of nature they then bring meaning of wholeness with nature to me and hopefully the observer.”
Have the goals of your work changed during the Covid-19 lockdown and do you have advice for an aspiring artist?
“I have a hard time viewing myself as an artist. My business partner jokes with me and tells me once I began selling my works, I became a professional artist. I don’t know if I’d ever view myself as an artist, certainly not a professional artist, as I have a Masters in Epidemiology and a Master’s in Public Health. I Coached for over 20 years at the university level and competed professionally. I continue to coach as a rehabilitative coach today. However, the Covid lockdown did provide me an opportunity for reflection and a period of isolation without distractions to explore and expand on the artist within. With the support of family and my business partner, I’ve created some fun pieces that I am immensely proud to have been able to craft. Some people seem to enjoy my work. Some pieces are a bit eccentric, abstract, and sometimes confusing but overall the reaction has been incredibly positive, and we have sold several hundred pieces even with a pandemic going on. For that I am humbled and surprised. Each art piece I create is almost like a child to me. I nurture it and collaborate with it and want to ensure each piece goes to a good home or business where it will be cared for and cherished for years to come.
I can see preoccupations, moods and themes running throughout my artistic journey. My aim is to create a balanced work that is balanced between color, and texture and complimented by the canvas of nature. Those are competing forces which are the canvas that work as the inspiration in my work.
My advice for an artist starting out would be, just do it. It doesn’t matter if you are an art major or an art novice, it doesn’t matter if you are 12, 18, 25, 55 or 70 everyone has art within themselves, but few will ever express the art they have the potential to create. The world needs art, color, complex designs, and simple beauty. If its within you, do it, put it out there and just do it. Everyone of us wants to express ourselves from within, in some way; some write, some create art, some craft music, or performance arts. Whatever is within you, just believe in yourself and just do it.”
Learn More About Coach, Author and Artist Rene Sepulveda. Several of his pieces are showcased online via the 2nd Life Boutique and an Etsy Store. Rene Sepulveda’s more exclusive pieces are showcased on the artist website ArtistReneSepulveda.com. Many of his pieces are showcased and can be seen in person at Roadrunner Emporium, 928 New York Avenue Alamogordo, New Mexico. A few of his largest installation pieces are showcased on exhibition in the yards and homes in and around Northern California and Southern New Mexico. His recently released 9 foot by 8 foot complex root art piece he calls “Ventricle” and his extraordinary 9 Foot Tall sculptured abstract tree trunk artistry sculpture called, “Bailey Canyon” and his other awesome piece called “Stark NM” can be found on exhibition at 2 private residences on McKinley Street in Alamogordo, New Mexico and are available for viewing. All are sold via his website ArtistReneSepulveda.com or at a discounted price when purchased in person and for pickup via the 2nd Life Boutique at Roadrunner Emporium, 928 New York Avenue, Alamogordo New Mexico.
To schedule a viewing in person and a discussion with the artist or for more information contact Mr. Sepulveda’s publicist firstname.lastname@example.org or call 707.880.6238