About René
Baltimore City
René Treviño is a gay Mexican-American artist born in Kingsville, Texas. He received his BFA in Fine Arts from the School of Visual Arts (SVA) in 2003 and his MFA from the Maryland Institute College of Art (MICA) in 2005. He has exhibited at the Wadsworth Athenaeum in Hartford, CT; the Baltimore Museum of Art, Goliath Visual Space in Brooklyn, NY; White Box in New York, NY; the Delaware Center for Contemporary Art in Wilmington, DE; the Arlington Arts Center in Arlington, VA; and Pentimenti… more
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Walls of the Yucatán
Nationally, we have been having a lot of conversations about walls and borders. Who has access? Who gets to permeate these barriers? I made these paintings from a series of photographs I took while traveling to ancient Mayan sites throughout the Yucatán Peninsula. I was drawn to these walls from Chichen Itza, Coba and Tulum and to these handmade bricks and stones. In Mayan times these would have been covered over with Stucco. Because these sites are now ruins, the stucco has eroded away and reveals these amazing, very human surfaces. I love imagining the hands that made them and the way they might have looked at the height of the Mayan Empire.
These are meticulously hand painted with acrylic paint on Mylar, and cover the entire surface of the 48 x 36 inch picture plane.
These are meticulously hand painted with acrylic paint on Mylar, and cover the entire surface of the 48 x 36 inch picture plane.
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Walls of the Yucatán, 2019Hand-painted acrylic on Mylar, six panels at 48 x 36 inches each
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Walls of the Yucatán, Carmine Red, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Red Vermilion, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Sahara Yellow, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Veronese Green, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Turquoise Blue, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Ultramarine, 2019Hand-painted acrylic on Mylar, 48 x 36 inches
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Walls of the Yucatán, Carmine Red2019, detail
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Walls of the Yucatán, Sahara Yellow2019, detail
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Walls of the Yucatán, Ultramarine2019, detail
Dropping Like Flies
Dropping Like Flies, 2018 is an installation created for the Old Jail Art Center in Albany, TX. The piece is comprised of 5 acrylic paintings of the Mayan death god on metallic leather surrounded by over 1000 hand gold-leafed and rhinestoned flies. At the base of the installation are 6 ceramic skulls that are wearing heart-shaped sunglasses and wreaths of bridal/quincinera flowers.
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Dropping like Flies, 2018Painted representations of the Mayan Death God on metallic leather with rhinestones and sequins; plastic flies with gold leaf and rhinestones; ceramic gold skulls with artificial flowers, sunglasses, sequins and rhinestones, dimensions variable. Installation view of project installed at the Old Jail Art Center in Albany, TX in 2018.
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Dropping Like Flies, 2018Installation view of Dropping Like Flies, 2018 installed at the Old Jail Art Center in Albany, TX.
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Dropping Like Flies, 2018Detail view of Dropping Like Flies, 2018.
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Dropping Like Flies, 2018Each of the 1000+ flies were individually gold-leafed and rhinestoned.
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Dropping Like Flies, 2018Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
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Dropping Like Flies, 2018Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
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Dropping Like Flies, 2018Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
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Dropping Like Flies, 2018Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
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Dropping Like Flies, 2018Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
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Dropping Like Flies, 2018Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
CODEX
CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into these historical images.
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Magic, 2018Acrylic and embroidered patches on paper, 42 x 60 inches.
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Odalisque, 2018Acrylic and rhinestones on paper, 42 x 72 inches.
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Ballplayers in Love, 2018Acrylic on Mylar, 42 x 80 inches.
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Smiling Monster, 2018Acrylic and rhinestones on paper, 48 x 42 inches.
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Palm, 2018Acrylic on paper, 42 x 50 inches.
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Slavery, 2018Acrylic on paper 42 x 65 inches.
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Embrace I, 2018Acrylic and rhinestones on paper 42 x 42 inches.
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Embrace II, 2018Acrylic and rhinestones on paper, 42 x 42 inches.
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Fragment I, 2018Acrylic and embroidered flower on paper, 14 x 17 inches.
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Fragment II, 2018Acrylic and buttons on paper, 14 x 17 inches.
CODEX
CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into historical images.
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Sacrifice (Parade) I and II, 2017Acrylic, rhinestones, gold leaf, on paper, two panels, 48 x 96 inches each
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Sacrifice (Parade I), left panel, 2017Acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
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Sacrifice (Parade), left panel, detail, 2017Left panel detail, 2017, acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
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Sacrifice (Parade II), right panel, 2017Acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
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Codex, Day and Night, 2014Acrylic, gold leaf and rhinestones on Mylar, 40 x 30 inches each
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Maize Cross (Rainbow), 2014Hand-painted acrylic on Mylar, 11 x 14 inches
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Tree of Life, 2014Hand-painted acrylic on Mylar, 11 x 14 inches
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Pakal's Coming Out Story, 2014Hand-painted acrylic on Mylar, 11 x 14 inches
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Sacrifice (Not Napping, Tired from Picking Cotton and Making Art All Day), 2017Acrylic, rhinestones, gold metallic leather on paper, 96 x 48 inches
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Sacrifice (My Heart Will Go On), 2017Acrylic, rhinestones, feathers, on paper, 96 x 48 inches
Onward
Through my research, I have learned that some ancient Mexican codices were drawn and written on animal skins. Inspired by this, I am creating a series of paintings on metallic hides. Painting on the animal skins recalls the act of making the original codices; I use bright metallic gold, silver and bronze skins to represent the natural treasures and artifacts that were stolen from the indigenous people during the Spanish conquest.
Additionally I am making short animations. The goal with the animations is to make the paintings move and to give them a new kind of context, but also to give the work a life outside traditional gallery spaces.
Additionally I am making short animations. The goal with the animations is to make the paintings move and to give them a new kind of context, but also to give the work a life outside traditional gallery spaces.
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Death and Zero, 2017Acrylic, rhinestones, and embroidered flowers on metallic leather, 36 x 24 inches.
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The Roses of Palenque, 2017Acrylic, rhinestones, and sequined floral patches on metallic leather, 45 x 36 inches.
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Dorado (Oreo), 2017Rhinestones on gold metallic leather, 24 x 24 inches
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Dorado (Calendario), 2017Rhinestones on gold metallic leather, 24 x 24 inches
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Dorado (Maria Cookie), 2017Rhinestones on gold metallic leather, 24 x 24 inches.
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Rainbow Jaguar, 2017Acrylic and rhinestones on metallic leather, 22 x 22 inches
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The Time Has Come…, 2017The Time Has Come…, 2017, digital animation, 3 minutes
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Sacrifice, 2017Digital animation, 30 seconds
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An Eagle Can Fly Over Your Wall, 2016Digital Animation, 20 seconds
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Day/Night, 2017Digital animation, 43 seconds
Renaming the Constellations
This work plays on the subjectivity of the past, which is seen through the lens of those with the power to write it. Who gets to name the constellations? Why do they have names like Cassiopeia, Andromeda, Perseus, etc. when they had been named previously by other cultures? In renaming the constellations, I strip them of their Greek/Western mythos. The high key color or rainbow also brings to mind a variety of meanings—the calm after a storm, a celebration of bounty and variety, and most importantly, a symbol of pride for the LGTB community.
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Renaming the Constellations, 2016Hand-painted acrylic and rhinestones on Mylar, six panels at 36 x 36 inches each
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Renaming the Constellations, Red, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Orange, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Yellow, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Green, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Blue, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Renaming the Constellations, Violet, 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Reclaiming the Constellations (Lotería), 2016Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
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Reclaiming the Constellations (Lotería), 2016Hand-painted acrylic and rhinestones on Mylar, fifteen panels at 18 x 18 inches each
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Reclaiming the Constellations (Lotería), 2016Hand-painted acrylic and rhinestones on Mylar, fifteen panels at 18 x 18 inches each
Axial Precessions
The Axial Precession works are a new series of paintings of round forms, including celestial bodies, cultural and art historical objects and patterns, star charts and astrological maps. There is something reassuring and meditative in these repeated mandala forms. The viewer is simultaneously very small in relation to space and the cosmos and omniscient.
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Axial Precessions, 2012-2014Hand-painted acrylic on Mylar, twenty-one works at 36 x 36 inches each
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Axial Precessions, Han Dynasty Mirror, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Moon, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Tonatiuh, 2013Hand-painted acrylic on Mylar, 36 x 36 inches.
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Axial Precessions, Iron Bowl, 2013Hand-painted acrylic on Mylar, 36 x 36 inches.
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Axial Precessions, Pájaro, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Aztec Skull, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Souvenir, 2013Hand-painted acrylic on Mylar, 36 x 36 inches
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Axial Precessions, Louvre Lion2013, hand-painted acrylic on Mylar, 36 x 36 inches.
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Axial Precessions, Star Chart (Cobalt), 2013Hand-painted acrylic on Mylar, 36 x 36 inches
Saguaro Warriors
A series of life-sized graphite on paper drawings that represent my idea of a hypothetical army that could come together to solve the world's problems.
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Saguaro Warriors, 2006-2007Graphite on paper, installation view
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Saguaro Warriors, 2007Graphite on paper, detail
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Saguaro Warriors, Buffalo Bill, 2007Graphite on paper, 87 x 42 inches
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Saguaro Warriors, Sitting Bull, 2007Graphite on paper, 76 x 42 inches
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Saguaro Warriors, Daniel Craig as James Bond, 2006Graphite on paper, 82 x 42 inches
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Saguaro Warriors, Taft, 2007Graphite on paper, 85 x 42 inches
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Saguaro Warriors, Neptune, 2007Graphite on paper, 80 x 42 inches
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Saguaro Warriors, Chief, 2007Graphite on paper, 78 x 42 inches
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Saguaro Warriors, Dolce & Gabbana, 2007Graphite on paper, 87 x 42 inches
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Saguaro Warriors, General Grant and a Giant Saguaro, 2007Graphite on paper, 42 x 87 inches
Flags
Growing up in Texas, being both gay and Mexican-American, I never felt completely represented by any one flag. These works are an attempt to re-imagine and personalize existing flags. I am eager to see the rainbow colored bunting in a public setting such as a used car lot or lining the streets of a downtown neighborhood. A big dream of mine is to see the Gay Mexican Flag surrounding the Washington Monument.
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Mis Banderas (My Flags)Silk-screened Nylon, 3 x 5 foot flags on 6 foot poles, installation view.
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Mariachis en el Fuego2005, documentation of a performance.
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Gay American FlagHand-painted acrylic on Mylar, 11 x 14 inches.
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Gay Mexican FlagHand-painted acrylic on Mylar, 11 x 14 inches.
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Gay Texan FlagHand-painted acrylic on Mylar, 11 x 14 inches.
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Iwo JimaHand-painted acrylic on Mylar, 11 x 14 inches.
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Canopy2008, laser printed images on poly vinyl, installation view. Dimensions variable.
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Banderas, Calatrava2014, a proposal image to temporarily change the large Texan and American flags that flank the Calatrava Bridge, a main thoroughfare and an important architectural site, in Dallas, TX.
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Banderas, Deep Ellum2014, a proposal image for an installation of rainbow colored and patterned versions of the American and Texan flags in the public square by the Burr Oak Marker Tree in the Deep Ellum neighborhood of Dallas, TX
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Lincoln Under the Rainbow2008, laser printedimages on poly vinyl, installation view. Dimensions variable.
Propaganda Series
This is an ongoing series of work that I began in 2005. At the core of the work are issues of identity, masculinity, sexuality, history and popular culture. The work is hand-painted acrylic on Mylar along with a variety of mixed media, including rhinestones and gold leaf. The work incorporates a variety of wallpaper patterns and is a frenetic burst of visual energy that is at once overwhelming to the viewer but also offering intimate moments to discover.
In the different installation shots, you get a sense of how the project has evolved. The colors are different, subjects change, the themes are in constant transition, but within the grid framework I am free to expand and meander; the work reflects my evolution as an artist.
In the different installation shots, you get a sense of how the project has evolved. The colors are different, subjects change, the themes are in constant transition, but within the grid framework I am free to expand and meander; the work reflects my evolution as an artist.
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Propaganda Series, 2005-ongoingAcrylic and mixed media on Mylar, 180+ works at 11 x 14 inches each. Installation view.
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Propaganda Series, 2005-ongoingAcrylic and mixed media on Mylar, 130+ works at 11 x 14 inches each. Installation detail view.
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Propaganda Series2005, hand-painted acrylic on Mylar, 11 x 14 inches.
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Propaganda Series2008, hand-painted acrylic on Mylar, 11 x 14 inches.
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Propaganda Series2005, hand-painted acrylic on Mylar, 11 x 14 inches.
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Propaganda Series, Scalamandré (Red)Propaganda Series, Scalamandré (Red), 2014, acrylic on Mylar, 11 x 14 inches.
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Propaganda Series, Scalamandré (Yellow)Propaganda Series, Scalamandré (Yellow), 2014, acrylic on Mylar, 11 x 14 inches.
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Propaganda Series, RootsPropaganda Series, Roots, 2010, acrylic on Mylar, 11 x 14 inches.
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Propaganda Series, 2005-ongoingAcrylic and mixed media on Mylar, 11 x 14 inches each. Installation view, Washington College 2012.
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Propaganda Series, 2005-ongoingAcrylic and mixed media on Mylar, 11 x 14 inches each. Installation view detail, Washington College 2012.