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A
Journey to the Extreme...
I feel Orlando is like a journey to the
extremes, where one is beset by uncertainty at every turn;
if we allow ourselves to be completely open, we can enter
into the intricate world of his paintings. In his work all
impartiality disappears when confronted by a personality
that is extremely exuberant and some would even say
contagious.
This is why 6 years after our first meeting and after
witnessing first hand the extraordinary transformation of
his work, I continue to observe at a distance the
inexhaustible work of this prolific, obsessive and
colloquial artist.
To glance at his work is to enter a place where nothing is
common, a place born of his imagination. In this imaginary
place the viewer can perceive the struggle the artist
experiences in creating a world full of
impossibilities. When one admires Orlando s creations it is
as if one were in an art museum where the best of the
western art world is on display. In his work Orlando brings
together the best of the art world s classical
archetypes. One can also find an eclectic mix of
architectural cannons that are representative of the last
centuries.
Orlando s dreamlike visions possess a certain air of romance
and decadence, where architectural ruins escape the confines
of archeology and reality, and where oceans, often visible
in Orlando s work, reach up to touch the fantastical window
views---, views that open up to what could easily be a
Mediterranean, Caribbean or Venetian waterscape. These
visions take us to an undetermined, surreal place, born out
of nostalgia and a deep longing for the past.
His aesthetic is composed of a discourse that includes
elements of surrealism and postmodernism and which allow us
to contemplate the incredible amongst scenes that are filled
with furniture and paintings and where one can observe how
unimaginable objects float illogically through the air to
create a surprising three-dimensional scene.
I would say that with Orlando, the interior is the
protagonist per excellence of his work, transmitting the
magic that impregnates this imaginary world, and all this
for our satisfaction. In these scenes the works of the great
masters of the art world bear witness to Orlando s
occasionally irreverent, aesthetic expression. If Orlando
takes hold of these classic paintings it is to give them new
life with his own inexhaustible style and to take them to
another dimension that transcends the boundaries of reality.
In a world where the media dominates and molds our ideals of
what it means to live poorly or to live well, and where
hedonistic contemplation of human satisfactions and leisure
time are a part of reality, the postmodern expressions of
this painter, which include the great icons of the visual
arts, help to fill a yearning and a need that the human
being has for beauty.
Gifted with a skill for realism that emulates and simulates
the classical masters of the art world, through his
paintings Orlando searches to find the visual representation
of the universe as seen in his dreams. Where these
paradoxically appear to compete with their own influences.
The colors are vibrant and sweetened and at moments are lost
in a world of shadows, where we are suddenly beset by light
that peeks in among windows, corridors and deserted rooms,
where it would seem that the ghosts of the recent past still
linger. The absence of the human figure contrasts gravely
against the baroque framework of objects, columns and
staircases, which truly contribute to that dramatic effect
that sometimes permeates his work.
For some the work of this young Cuban artist could seem
ornamental and explicit, but we know that the variety and
diversity of art affords much to the act of observation and
also to the content and form, and in this case the objective
as well as the imaginary.
This painter of the imaginary bourgeois, who has based his
work on an eclectic vision of life and art and who has
expressed an aesthetic inspired by the neoclassic and the
baroque, shares with us, in his own way, a bit of his vision
and dream, at which we look on with amazement at the
extraordinary spectacle.
His latest exhibit in Philadelphia, which took place in
conjunction with one of the legends of Puerto Rican art,
confirmed my feeling that the idea of creating a work of art
made by two distinct artists was bold and audacious. In this
case the work was a collaboration between Orlando and the
master painter Cajiga. The result of this collaboration was
a work of art beautifully realized, in which Orlando, with
his particular style, paid homage to the Island s culture by
borrowing concepts from the works of Francisco Oller, Jose
Campeche and Miguel Pou.
This painting was later exhibited in the Capitol building of
San Juan along with the best known works of both Cajiga and
Orlando. He hopes to repeat this collaborative experience
with other painters of different styles and aesthetics.
Eventually, he would like to feature his next collaborative
effort in his new gallery, where art lovers will be able to
see it.
This is why after that first initial meeting in a deserted
gallery, and after experiencing the ups and downs of
friendship, I am still observing at a distance Orlando s
amazing journey, and I think back on what another friend
once told me minutes before meeting him, You can love it or
you can hate, but I am sure you cannot ignore it.
Carlos Rios / Pablo Labañino
Orlando:
The Triumph of Excellence...
By Reynaldo G. Fernández
We visit Orlando Rafael Quevedo in his studio; an artist of
the Hispanic community of Philadelphia who has had his work
displayed on several occasions at the New York Art Expo, The
most important art expo in the United States.
The Latest Exhibit of his Work.
I have just inaugurated my pictorial exhibit in San Juan,
Puerto Rico. I hope this will open up the Caribbean market
for me. At the moment in the United States over 370
galleries feature my work. In 2004 I had several originals
and reproductions in Boston, New York, Washington and
Chicago.
However, the current exhibit in Puerto Rico has special
significance for me because it is the first time I have
shown my work outside of the United States. The work has
already been signed by the gallery that is representing me
and focuses on the theme, which at the moment I have
completely dedicated myself to. I feel that I am at my peak
artistically and this is the opportunity for me to share my
work with a Caribbean country that shares some of the same
cultural roots, traditions, history, common psyche, and
bonds of friendship of that of my native country. As an
immigrant it is commonly referred to as returning to Lo de
uno (One s own). I cannot do it in Cuba, but in San Juan I
felt as if I had returned to my homeland. I like Puerto
Rico, it is a warm country, hospitable and welcoming to
people like myself& it evokes a nostalgia. It is also an
important place for music, literature and Caribbean art. To
leave my mark in such a place is an important step for
me. Plus there are sentimental reasons that tie me to the
island of enchantment. My wife is Puerto Rican and we have
two children together. Also, I have lived in North
Philadelphia since my arrival from Cuba in 1993 and many of
the friendships I have formed and many of the people who
have helped me like Tomas Sanchez, Virginia Sanchez, Johnny
Irizarry and others, friends that are truly dear to me, they
know who they are, are of Puerto Rican descent. This is the
other reason; it is both a human and sentimental factor, and
why I am so pleased to be showing my work in Puerto Rico.
Who is sponsoring this exhibit?
I am proud to say that it is being sponsored by one of the
best known painters of Puerto Rico, Luis Cajiga, respected
nationally and internationally. In the United States his
work is renowned. He is one of the most important painters
in the history of Puerto Rico. His work can be found in
various books on art history and his works are on display in
the museum of Ponce and the museum of the University of
Puerto Rico. In various collections representative of Puerto
Rican art the work of Luis Cajiga is always included. He has
become a great colleague and advocate of my work. In fact
the exhibit is being shown in his studio Estudio Cajiga
Calle San Justo No. 25 in Old San Juan. Cajiga is the
director and organizer. This is a great honor and I am very
pleased. It is a Studio/gallery that has a salon for
exhibits with all the necessary elements.
What is the title of the exhibit?
ORLANDO, this is how I sign my paintings and how I am known
in the Art World.
And the reception& .
Extremely warm. In Cajiga s opinion it was a major success.
There has been quite a lot of publicity surrounding the
exhibit. While I was in Puerto Rico I was interviewed by the
radio station 11Q, which is the state radio station. Also,
the TV station Telemundo and the newspapers Al Dia and El
Vocero covered the exhibit.
The exhibit can be seen until mid February from 10 am to 7
pm everyday except Saturdays and there is a good chance that
the exhibit will be transferred to the Capitol building in
Puerto Rico. The final details are currently being worked
out to complete the transfer to the capitol building. Art
Premium, a magazine dedicated to the arts in Puerto Rico
will be publishing an article this year featuring my work.
This magazine is available in Santo Domingo, New York,
Boston and other places with large Hispanic populations.
How would you define your work?
My work is a simulation, that is both realist and
post-modern and I also make adaptations from different forms
of expression that have been used throughout art history. It
is my intention to invoke a magical reality, scenes that
could indeed exist beyond imagination. When I finish a
painting I ask myself On what coordinate of space and time
could this scene exist? Reality and fantasy are separated in
this reflection of reality that we call art. And always with
an aesthetic pretension; I feel passion for beauty that is
sublime and for poetic discourse that is honest and
unmasked. I would describe my work as a perfume.
Why interiors?
At this point in my career, the interior has taken on the
role of the protagonist. In the history of art the interior
of a room has usually been added as the background of a
painting. In the case of my paintings the interior has
become, in a manner of speaking, the star or main character
of the work; the interiors are habitual and important, and
interact with human figures, landscapes, birds, fruits and
with the exteriors and the important works that are a part
of art history. In the history of art, interiors have
generally been added to other elements of a painting such as
the human figure. Interiors have been more of an
afterthought. I incorporate them and reproduce them within
my contemporary aesthetic. I take great pleasure in
discovering how the great masters created their
masterpieces. This process takes me to highly elevated
gnostic planes where I can experience a great aesthetic
pleasure. Many times I will make references to the mundane
or the everyday but within the reality of art.
Influences ?
My work has been greatly influenced by the Baroque style.,
by the drama of light of that era, by the way the Baroque
masters depicted movement, by the actual content and by the
importance and value the Baroque masters placed on
interiors, masters like Peter Paul Reubens, Velásquez,
Rembrandt...
Does a catalog of your work exist?
Almost all my paintings are included in my catalog. My
personal catalog is called Orlando Art Collections, printed
in NYC and it was produced by my representatives Isaac
Coorporation y Gal Ltd. For more information, readers can
visit the site www.OrlandoQuevedo.com.
Let s talk about your progress. Where and how did you
take your first steps as a painter?
I am originally from Holguin, the western part of
Cuba. Interestingly enough there is no one in my family who
is a professional artist. My interest in the arts began at
an early age. According to my grandmother I began drawing at
the age of 4; however, I have no memory of this. My mother
has saved the newspaper clipping of the time I won a
national contest celebrating the Protest of Antonio Maceo in
Baragua in 1977-1978. I was seven years old and competing
against children that were as old as 14. But I have to say
that this process of discovering my true calling actually
began in a library in Holguin. There I discovered a book
dedicated to the great Spanish painters; I was fascinated by
the works of Goya. I still have it with me& It was my
mother, who by purchasing this book for me, nurtured my
talent. The fact that my father had always had an interest
in art and painting, but had never had an opportunity to
study formally, also drew me to the art world. I had several
instructors and I remember them all with gratitude, but in
particular I remember Cosme Proenza, who is one of the most
celebrated Cuban Artist of the mid XX century. I will always
be grateful to him for instilling in me a love for the study
of the classics. Afterwards I studied with Flavio Garciandía
in El Instituto Superior de Arte de La Habana; he is a
painter well known for his technique. Between 1984 and 1992,
I participated in collective works and won prizes in several
competitions that were both national and international in
Cuba, Mexico, Venezuela and the former Soviet Union.
In 1993 I came to the United States. I had no knowledge of
the language, but had many of the same expectations that
many other immigrants have when they first come to this
country. There was no turning back for me. I had many doubts
and questions that I had to work through quickly. At first,
I worked at many different things in order to survive. But
the key to success has been dedication, hours of hard work,
a passion for excellence. Anyone can have talent and a gift
but only dedication and self-discipline can make you a
success. To make a living from my art has not been easy. I
do not see myself as a special person that has been touched
by a magic wand. Quite the contrary, I am a regular person
in search of excellence.
If you could only use one color what would it be?
Red.
What interests you most in this World?
Life.
What bothers you most about people?
Superficial attitudes, but one has to be willing to
forgive other people s ignorance many times. The lack of
substance and frivolity also depresses me.
What have you learned as a maturing adult?
Faith.
What are your aspirations and greatest hopes as an
artist?
Universality.
What is your message to today s youth that find
themselves on the same path?
They must learn to wait and be patient. When you have
something to say, inevitably, if you are persistent, you
will find a way to express it.
Philadelphia
For the rest of my life I believe that this city will always
be a point of reference for me because despite issues with
urban plight and decay that we can see worsening everyday,
this is also the place where I have matured spiritually and
creatively. Philadelphia is also a place full of culture and
a love for the arts. Philadelphia has many people who are
highly cultured and interesting. There are plenty of
important and beautiful museums and galleries that merit
attention; In particular among my favorites and among those
that stand out most in my memory are the Taller
Puertorriqueno (Puerto Rican workshop), ASPIRA, La Salle
University, The Eugenio Maria de Hostos School, and La Salle
University, where I worked as an adjunct professor and the
University of Pennsylvania, where I exhibited by work in
1999 and finally there is the Museum of Art which I visit on
monthly basis.
Upcoming plans for your work&
There may be some exhibits in Las Vegas, Florida and again
in Puerto Rico.
Orlando Quevedo's art
Quite simply ambushes and spellbinds the casual
observer. Even a quick glance induces the realization that
the work is profound and its execution exceptional! The more
closely one examines his works, the more one is drawn into
an emotional conversation with his subjects much like the
theater draws an audience into its story line. As the
patterns and symbols of his artistic style slowly unfold,
the marvelous begins to emerge from and transform the
ordinary into something extraordinary for each
individual. Suffice it to say this is the primary reason
Orlando prefers not to relay his personal analysis and
meaning for his creations. Instead, he acknowledges the
possibility of more than one correct interpretation for his
paintings. Whatever the interpretation, it is nearly
impossible to behold his art without being immediately drawn
into it, much like a whirlpool pulls a swimmer into its
core.
Such was my experience when I first behold his magnificent
painting, Summerset. First, I identified with the classical
six-string guitar leaning against the wall and the richly
colored Picasso to the left of the room. As I studied the
interaction of the sunlight on the sand, the tiled floor,
the chairs, and the pillow cushions, I noticed the baroque
patterns imprinted on the cloth; my eyes danced back and
forth from the interior of the room to the exterior sunset
on the beach; the open doors invited me both into the room
and outside to the sandy shore simultaneously. Fascinated by
the colorful sunset, I reflected on the calmness of the sea
and the two empty boats which seemingly imply another story
line in addition to the one comprised of a curious
arrangement of objects within the colorful and decorous
room.
Slowly my attention shifted focus to the artistic detail of
the butterflies, the parrot, the letters floating in the
air, and finally questions began to fill my mind. To whom
does this room belong? A musician, an artist? Was he alone
or perhaps had he entertained a friend or maybe a lover in
this room recently? How long ago did he/they depart? I
couldn t help but notice that the demarcation between the
interior of the ceramic tiles and the exterior path of sand
seemed to converge, sharing a magical path of
illumination. I was fascinated by the intricate display of
color, shadow, light, and gradually the true genius and
majesty of Orlando s poetic mind began to unveil.
I became mesmerized by the warmth and positivism I found in
the piece. Eventually, the painting intertwined with
personal experiences from my youth and the island childhood
that I truly loved& Time melted with the gentle swaying from
the present setting of being in an art gallery to the
wonderful memories of a happy yesteryear; the past and the
present of art history collided as I observed the two
magnificent reproductions within the borders of Orlando s
imaginary setting; of particular interest was the inclusion
of a butterfly on top of the Picasso, and the toucan perched
on the blue chair or was the bird superimposed on the other
portrait? I wondered what the fruit symbolized for Quevedo? The
seamless merger of the interior setting with the dreamy
tropical paradise exterior was majestic.
Then, I surmised that the inclusion of two famous portraits
within an original painting resembled Shakespeare s
play-within-a-play motif. Life was imitating art and vice
versa. Suddenly my mind raced between the literary beauty of
the work as a whole and the splendid detail of the
individual objects& there was baroque design, a Latin
guitar, pieces of sheet music, fruit, a toucan, butterflies,
a lavish chair, and all seemed to harmonize effortlessly and
caused me to reflect on two thoughts--what is art and how
much I identified with the major themes of this painting. I
found my greatest joys of love, beauty, music, art, peace,
harmony, and warm memories criss-crossing in and out of the
painting and suddenly it became something very meaningful
and personal for me.
This discovery was particularly special and wondrous for me
at this point in my life as I was in the middle of a divorce
with my best friend of the past 19 years. Euphoria filled my
mind enchanting me with the simple beauty and love that I
experienced in this painting. I decided to make the
investment to own this treasure and, for the first time in
my life, I purchased an authentic, original oil painting and
not just a cheap print. I was ecstatic. Other persons have
had similar epiphanies upon encountering the brilliance and
artistry of Orlando s Magical Realism.
Like all great artists, Orlando s paintings ask six
universal questions what is art, what is life, what is
reality, what is imaginary, what is beauty, and what is
love. His works transcend a criticism of contemporary
politics and socioeconomic concerns, preferring to focus on
the essence and core commonalities of the human
experience. He has little patience for negativity, or the
chaos found in abstract art. Rather, he challenges the
observer to perceive art throughout the ages as a timeless
continuum and to contemplate what are the attributes that
make art art.
So, what is magical realism? Since a debate exists over when
it really started and who originated this genre, I prefer to
restrict the definition to its application as it relates to
Latin America. The term itself, magical realism, attributes
to the Cuban writer Alejo Carpentier, who first applied it
to Latin-American fiction in 1949. It is more correctly
translated as Real Maravillosa or Wondrous (marvelous)
Reality . This literary style concentrates on realistic
portrayals of ordinary settings and familiar objects in
conjunction with dreamlike elements that reveal the magical
and marvelous which coexist with the ordinary. The arbitrary
separation between the real and the imaginary becomes
blurred to a vanishing point at which a new reality is
born. The three most prolific proponents of this literary
technique are Gabriel Garcia Marquez, Jorge Luis Borges, and
MarioVargas Llosa.
Latino Magical Realism, regardless of the artist, shares
the following:
fantastic elements that defy logic but require no
explanation
magical occurrences emerge within the context of a realistic
setting
extensive usage of reoccurring imagery and symbolism
emotions and sensuality are explored and developed
time is distorted or transcended into another dimension
the present and the past are frequently melted together
cause and effect relationships (rationality) are unimportant
multiple interpretations or conclusions are encouraged
the magical qualities never supersede the realistic, but
appear natural
a heightened or new reality emerges from the magical and the
ordinary
focus is placed on mundane subjects rather than fantastical
ones
movement towards a new, undetermined future exists
an overload of miniature details produce a modified reality
what is real and what is surreal become confused
the truths of physical science do not apply
Orlando s magical realism in addition to the above
characteristics also includes:
art imitating life, life imitating art
a setting which implies a recent presence or leaving
(objects in motion)
an active dialogue between the art and the observer
universal themes and questions about art, beauty, and love
are explored
romance, love, and sensuality are overt themes
elements of sleep and dreams are expressed
realistic settings and imagery establish the framework of
the art
references to Greek, Roman, Baroque, and European
architecture
modifications and minuscule alterations to known art works
subtle violations of the natural laws of physics
careful placement and mirroring of objects implying a dual
reality
intentional repetition of set numbers of objects within a
painting
specific meanings attributed to certain colors, shapes, and
objects
strong usage of columns, lines, and squares to imply a
logical, realistic setting
natural and manmade objects are juxtaposed to define a new
reality
objects frequently repeated are intentionally used for
dramatic impact
beauty and love transcend the ordinary and make it magical
some symbols frequently used are fruits, birds, rugs,
pillows, chairs, doors,
exteriors at dawn or dusk, columns, staircases, walls,
letters, water, musical
instruments, warm colors, flowers, plants, ribbons, marble
tiles, and corridors
the merger of different cultures and artistic styles
produces a new universal landscape
the excessive usage of numerous objects in an illogical
grouping
the use of light and shadow to create drama and movement
persons that maintain a distance or tend to be in the
background
a 3-D painting style that invites one deeper and deeper into
the painting
a strong influence from Rembrandt, Rubens, and Velasquez
a sense of unwelcomed intrusion and uneasiness instilled in
the spectator
sensory overload produced through bright, vivid colors and
baroque ornamentation
In conversations with Orlando, he described his artistic
background in Cuba. In art school, his fellow students
perceived him as iconoclastic and different in his approach
to the concepts of art. Whereas the other students limited
their artistic endeavors to revolutionary art, Orlando
considered such an approach too narrow-minded and servicing
only a minuscule slice of time within the greater expanse of
the universe of art. To him, real art transcends time and
place by addressing the universal concepts of love, beauty,
and harmony. He stresses that:
Art should be representative of the entire history of
humanity and not limited to a single movement or style. That
s what separates the great masters from the rest. For
example, Da Vinci works are just as valid and meaningful in
their communication with viewers today as they were
centuries ago. Art is timeless.
Professor Quevedo holds a certain disdain for the ever
popular modern-art and remarked that he is not in love with
it. He just quite honestly doesn t derive anything from it
emotionally:
Yes, I can teach it from the context of what it is and what
its characteristics are& but, it doesn t bring anything
emotionally to me.
When we discussed art and beauty he referred to the
philosopher Kant and explained that he identified with Kant
s interpretation:
Kant s writings stressed that beauty is the most important
thing in life and can be found in such simple things as
water or flowers. Why is water beautiful? Simply because it
is water. Why are flowers beautiful? Simply because they are
flowers. Thus they are art since they define beauty. My
paintings seek to make a simple statement that answers the
same question what is beauty? Ultimately, art is a
celebration of beauty and creativity.
As we looked at some of his earlier works that included only
an interior setting with works by famous artists, Orlando
described the artistic challenge he gave himself to present
something new and interesting:
Throughout the history of art there has been an emphasis on
still life and landscapes& As an artist, I accepted a unique
challenge of creating interest and drama to an interior
setting without people. I decided to use other artists works
to create a conversation between the spectator and the
painting. By using the spectator s familiarity with famous
paintings to draw him into the setting emotionally, his
reactions and interactions with the work produces an
emotional dialogue with the interior inanimate objects. I
believe that one thing that makes my art unique is& this
effort to give a voice to inanimate, interior settings.
Continuing his definition of art and the role of an artist,
Orlando explained that art is a living work in progress. As
he approaches the canvas, he leaves nothing to chance. While
the creative process means that he is constantly making
artistic decisions that impact on the painting s composition
and design, he stresses that the priority is ensuring that
every detail is planned and intentionally calculated to
contribute to the balance and organization as a whole and
that no space in a painting is wasted.
I was excited when Professor Quevedo disclosed some of the
symbolic meanings for certain objects that occur frequently
in his paintings. While these are not the only valid
interpretations or meanings, they are applicable the
majority of the time. Specifically: parrots (his Caribbean
roots and a personification of the artist himself), toucans
(used in closed settings and are less loud than
parrots; complement major objects in the paintings and used
to minimize contrasting colors); doves (innocence and
peace); apples (purity, innocence, story of Adam and
Eve); pears (more sensual than apples and mirror the rear
view of the female body); pillows (related to dreams, sleep,
memory, and fantasy); water (separation and memories of his
homeland); light (used to create drama and movement); person
with back to viewer (past or physical distance); letters
(communication and connection with loved ones); color red
(nostalgia and his homeland); ribbons (an inanimate tour
guide that leads the viewers eyes from object to object
within a painting); columns (power, support, and
strength). He also explained that often his paintings are
created with the idea that he had just recently, within a
few minutes, left the room.
Regarding the use of bright colors Orlando explained:
Bright colors are found throughout the Hispanic culture,
especially in the Caribbean.
That is because our tropical environment is always warm and
bright. The sun is a constant in my homeland and I capture
that memory and feeling with bright, vibrant colors. This is
a quality that distinguishes my paintings from European
artists.
When describing the mission of an artist, Orlando stated
that an artist s work ultimately should reflect beauty and
its desired result is happiness. A painting should be
created from the perspective that if the painting were a
living person that its presence would be welcomed in the
artist s home.
To maintain and further develop his artistic skills,
Professor Quevedo paints on an average ten hours a day. When
not painting on canvas, he frequently creates paintings in
his head. The exception to this commitment is on Saturdays
which he dedicates to spending quality time with his wife
and family. He wants his art to invite viewers to experience
a magical, happy, positive, and fantastic interpretation of
reality.
He acknowledges a psychological interpretation of the
evolution of his art work as a subconscious reflection of
his emotional state of mind. Specifically, when one observes
his earliest interior settings they tend to employ much
darker colors and tones, limited doors and windows, evoking
a claustrophobic state of being (see Always and Forever,
Romantic Dreams, & Once Upon A Time). It is important to
note that none of them include real life persons. Then, the
next stage is marked by the introduction of light, space,
and exits. The third stage includes outside scenery and
eventually he introduces his first real person with his Lady
in Red. This is a major departure from his earlier
preoccupation with only the inside of a room and nothing
else. Gradually, the exteriors of the buildings expand and
he begins painting completely open settings as well (see
Rainbow Sky and Ancient Time).
The transition from closed-room interiors to open spaces was
a natural progression representative of my physical
transition from Cuba to the United States. For example,
in Old Memories I even included a mountain range with snow
which you will never see in Cuba. I based the mountain range
on the American landscape which illustrates my internal
merging with the American culture as well as my growth into
a more universal persona.
As he experiments with magical elements, his work commences
to elaborate more on the fantastic aspects of his genre. For
example, a room in the sky was painted (see Hope and In My
Dreams) with subjects from other artists paintings that
seemed almost surreal as it hangs suspended in the
air. Sometimes it is hard to differentiate between an object
taken from another artist s painting that has been injected
into a completely new setting and objects created by Orlando
(see Light of Love, Water bearers, Two Hands, and Lady in
Red). Another reoccurring theme in his art is the seamless
merger of man-made objects (buildings, columns, etc.) with
nature. This can best be observed in his painting Nymphs,
but has been used throughout his art (see the merger of the
column and the lady s hair in Old Memories). Recently, he
has ventured into the realm of surrealism with his paintings
Hope and Page Curl.
When asked about becoming an artist, Orlando explained the
creative process and how one makes the transition from
student to master:
The really accomplished artists started out as students
being largely influenced by and imitating already
established experts such as Michelangelo. Eventually, over
time, these newer artists slowly introduce elements of their
own creation, combining these nuances little by little to
the styles of the masters, until a new technique or style
emerges. This is a natural progression and it cannot be
forced. This requires years of study, practice, and
commitment. For example, Rubens work was originally
influenced by Michel Caravaggio an artist between the
Renaissance and Baroque periods. (Some historians claim
Michel is actually the Father of the Baroque
style). Gradually, Rubens developed his own style and
persona.
This artistic development parallels the passing of the baton
between Olympic runners. The artist receives from the
masters a schooling in the fundamentals which he imitates
and slowly adds personal deviations. Finally, something
original surfaces which is then passed onto future
generations.
One aspect of Orlando s talent that impresses other artists
is his mastery and ability to accurately imitate the works
of virtually any icon from the history of art. This includes
the works of Van Gogh, Picasso, O Keeffe, Chagall, and Da
Vinci just to name a few. As Professor Quevedo himself
points out, he admires and started out imitating the
masterpieces by Rembrandt, Velasquez, and Rubens. It is this
classical training that separates his art from many modern
and post-modernists.
In Two Hands, Quiet Afternoon, New View, and Quiet Song we
observe the darker hues and the dramatic usage of light and
shadow to create movement reminiscent of Rembrandt and
Caravaggio; Velasquez s arrangement of people with unique
expressions can be found in Nymphs and Two Hands.
Considering the intentional duplication of Rubens reluctance
to acknowledge the presence of the observer, Orlando s art
skillfully evokes a sense of uneasiness and voyeurism to the
outside world. The positioning of subjects with their backs
to the audience or their placement in the background of the
paintings are best illustrated in Lady in Red, Light of
Love, First Dance, Girl and Vermeer, In My Dreams, Lady in
Venice, Love Story, and Sunrise. The idea is to present the
impression that everything is in motion; consequently, the
main subjects are rarely centered and in the foreground;
instead, the public must visually enter the painting in
order to embrace what would normally be considered the key
points of interest in the work.
When questioned about his usage of strong, bright, colors,
Orlando once again pays homage to Rubens. Color adds to the
implied movement and sensory overload of Baroque s
exaggerated and flamboyant excessiveness. Such colors are
found in the majority of Professor Quevedo s paintings; some
clear cut examples are: Harmony, In My Dreams, Love Story,
Sunrise, Summerset, Old Memories, Love Boat, Magic Dreams
II, Moments with You, First Dance, and By the Seashore.
Although strong influences from past masters can be traced
throughout his impressive portfolio, what establishes
Orlando as a master in his own right is the sheer genius and
disciplined attention to detail, careful arrangement of
objects, and unique blend of the magical within the
framework of believable, realistic settings; he truly has
achieved his original goal of producing an emotional
dialogue between the observer and his paintings.
By D. Wright |
