Reflecting on the diverse cultural tapestry of Mexican heritage, particularly the Day of the Dead celebrations, artist Alex Chavez has a way of transporting viewers with his use of color, symbolism, and expressive brushwork. Creating a bond between his muse and creative vision, this connection is not just seen but felt.
His portraiture captures the balance between serenity and, at times, a poignant sense of melancholy. The interaction of themes is skillfully portrayed through Chavez’s composition, which evokes introspection and contemplation. Each painting feels like an invitation, offering us a moment to reflect on the delicate nuances of life where emotion and experience converge.
His portrayal of traditional Mexican motifs is not merely decorative but serves as a narrative tool enriched in storytelling. The vibrant florals, fluttering butterflies, and solemn calaveras become conduits for a deeper emotional experience within his visionary style. The soft haze of the surrounding brushwork lends to such atmospheric gravity.
Chavez explains that his work is “a passionate expression that finds inspiration in capturing the beauty of life,” which is evident in the way the placement of each petal, or the expression of each subject, is a reminder of the inherent beauty that surrounds us in our daily lives.
I strive to add a primal, universal, and multicultural story to the subject, one that I hope everyone can connect with.
Exclusive Interview with Alex Chavez
Alex, thank you so much taking time to share your vision with our readers. What a pleasure. Your paintings possess a profound emotional depth, and each portrait seems to narrate a distinctive and compelling story.
I’m curious about your muse. Could you share more about their lives, and how they inspire your artistic creations? Your ability to capture their essence and portray it through your medium is remarkable. It would be fascinating to learn about the connection between their narratives and yours.
My muse is beauty, which I find in the human spirit. I paint from photo references that I manipulate, attempting to create a hint of narrative using a minimal number of elements -mainly through makeup, costumes, and objects like flowers, birds, or insects, much like a still life or a photographer’s composition. I strive to add a primal, universal, and multicultural story to the subject, one that I hope everyone can connect with. However, capturing the essence of a person remains the primary goal of my figurative work. Emulating the great masters of portraiture, I study their works in books, museums, and, of course, online.
By balancing sharp and soft areas, I aim to create a visually engaging piece that invites the viewer to explore and appreciate the craftsmanship and maturity of the paintings style.
In the same vein, your work invites others to see the world through a lens that honors a genuine, authentic beauty and emotional connection – appreciating the subtle details and nuances. What elements are most crucial in your artistic process?
The elements that I believe make for a great painting include a harmonious, full spectrum of brushwork. Ranging from sharp details to areas that are soft, even blurry, areas with very little detail. If I can accurately depict the subject using a fascinating array of brushstrokes, then I feel I’ve achieved my goal as a painter.
This requires paying equal attention to every square inch of the painting, ensuring that every area of the painting contributes to the overall visual harmony and emotional impact of the artwork. By balancing sharp and soft areas, I aim to create a visually engaging piece that invites the viewer to explore and appreciate the craftsmanship and maturity of the paintings style.
Capturing the beauty of life, our human experiences, and focusing on the fundamental elements that connect us to our roots – on your website you describe your work as “celebrating the primitive”. You mentioned add a “primal” story. What does that mean to you?
Human cultures, when examined in their early, primitive stages, reveal striking similarities that transcend time and geography. In these formative periods, all human societies were driven by the same fundamental needs: survival, security, connection, and expression. These shared goals – shaped by the universal human experience – highlight our common humanity. By understanding this, we can recognize that divisions between people are superficial, and that humanity is fundamentally interconnected. When we harm another person, we harm ourselves because we are all part of a shared existence.
Even at the age of 5 to 12, I was already drawing. I would analyze the paintings in the church, studying how they managed to make a two-dimensional painting appear three-dimensional. Studying and learning in church and drawing when returning home.
Reflecting on the rich cultural tapestry of Mexican heritage and the Day of the Dead celebrations, known for its vibrant colors, intricate symbolism, your approach feels contemporary, yet the brushwork resonates with a technique that is inspired by the old masters, creating a distinct fusion. How has your creative vision changed and evolved over time?
As a Mexican American, I am most familiar with those cultural elements. Consequently, many of my paintings reflect this nature, which has been very beneficial for me and my career. Regarding the influence of the “Old Masters” on my work, I attribute this to my early exposure to art during Catholic Mass every Sunday morning with my mom and sisters. This was my first physical exposure to fine art. My first visit to an art museum if you will.
I would spend the entire time gazing at the beautiful figurative oil paintings in the traditional European style, wondering, “How did they do that?” Even at the age of 5 to 12, I was already drawing. I would analyze the paintings in the church, studying how they managed to make a two-dimensional painting appear three-dimensional. Studying and learning in church and drawing when returning home.
Empathy is what I believe makes art most effective. In the truest sense of the word, it allows the viewer to literally feel the same emotions as the artist did while creating the artwork.
We often view art with a longing and needful desire for the experience it invokes within us, the connection it binds in our soul. What is your wish for those looking at your work?
Empathy is what I believe makes art most effective. In the truest sense of the word, it allows the viewer to literally feel the same emotions as the artist did while creating the artwork. The feeling is instilled into the work, much like bottled spirits. Good art can transport the viewer to another time and place. When you gaze at a painting that intrigues you, doesn’t it feel as though time has stopped as you lose yourself in contemplation? Artists are masters of both time and place – wizards, conjurers, magicians, shamans, and brujas.
While creating, we ourselves lose track of time and place, becoming conduits that tap into some mysterious source. My greatest hope is that the viewer experiences those same feelings.
One of my favorite things to learn about is an artist’s studio – often the window into their creative soul and a glimpse into their wellspring of inspiration. A sacred space, where imagination takes form and ideas are nurtured into existence. Could you share a bit about your creative haven and guide us briefly through a typical day in your life as an artist?
Well, I’ll talk about what I call “painting days.” When I’m not marketing, framing, shipping, transporting, tracking, and handling life’s little errands and chores that make up about half of my days, and I have the opportunity to focus on my art. I have a studio in beautiful Taos, New Mexico, located in an upstairs loft that opens onto an outdoor deck. It offers a fantastic view of the Taos Mountain, which is quite inspiring.
I feel very lucky to have this setup. I start my day at 8:00 AM with coffee while watching YouTube videos about oil painting, including demos, instruction, gallery tours, and artist bios. This always gets me excited, and I practically run upstairs to my easel. I never experience artist’s block; I’ve never had it. If I have three hours alone, I am painting. Typically, I have four or five paintings started at various stages.
I paint for about four hours in the morning, take a lunch break, make more coffee, and then paint for another two to three hours in the afternoon. I am moving away from stretched canvas to painting on wood panels. And finally, after years of personally trying many different oil paints and mediums, I am refining my palette and process.
That’s sounds peaceful and inspiring. Lastly, let’s look to the horizon… what do you see? What is your intention?
Continuing in the tradition of the Old Masters, I am focusing on creating larger, full-figure and multi-figure compositions. My aim is to explore and understand the techniques these historical artists employed when doing this such as composition and expression using human poses.
However, I do not plan to incorporate more narrative elements into my paintings. Instead, I will keep the emphasis on refining technique and evoking emotion through the human form, color, and composition. While the above might seem vague, it reflects a deliberate process where clarity emerges through practice. By engaging with traditional methods -such as blocking in forms and gradually building layers to define light, shadow, and then detail – I hope to honor the craftsmanship of the Old Masters while developing my own artistic voice.
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