Bluebird Arthouse SUR:biennial 2011
SUR:Biennial > 2011 > Bluebird Arthouse
Lizz Lopez, Self Portrait with Demons, Site-specific Installation, 2011.
Lizz Lopez
Elizabeth A. Lopez was raised on the Mexican American working-class side in San Antonio,Texas, an area with its own particular hybrid culture of Spanglish, vato culture, and often morbid folk religion and fervent Mexican American Catholicism. This daughter of a Southern Baptist Conservative minister grew up with would be criminals, drug dealers and a curious religious upbringing. Influenced by her early environment, the work of Lizz Lopez touches on issues relating to iconography, technology, and the struggle between reverent ideals and modern life.
She graduated from Kaiser’s School of Anesthesia and is diligently practicing the art of putting humans to sleep.
She currently resides in Hollywood California where she defies the law of gravity and actively contributes to the butterfly effect.
Vidal Herrera, Greetings From East Los Angeles, Poster, Rod Iron, Coffin Couch, 2011.
Vidal Herrera
Vidal Herrera was born and raised in East Los Angeles, where he now operates several businesses and creates one-of-a-kind art-based projects. He is a multimedia and installation artist who uses ready- made and reclaimed objects to create custom large- scale productions. The end result is fetish high design. With a background in forensic investigation who now serves also as a consultant in the film and entertainment industry, Herrera’s art brings a new dimension to the public’s perception of death. His motto is "The deceased must be protected and given a voice.”
Mobile Mural Lab (MML), El Buen Pastor Mural project, Site-specific Installation,
2011.
Mobile Mural Lab
In 2002, the city of Los Angeles implemented a non- descript sign ordinance (174,517), which does not discriminate between commercial signs and fine art murals. As the city planning commission delays revisions towards a differentiation between art and advertising and the implementation of a public art program, the preservation and production of murals remains entangled within the bureaucratic web of city politics. This particular political circumstance positions mural production on private property to be illegal, thus raising questions regarding censorship, privatization of public space and limited opportunities for free speech.
The Mobile Mural Lab(MML) conducts research by means of a re-appropriated City Search and Rescue vehicle. The MML is outfitted for two different forms of creative production. Communities engage the outer surface of the vehicle by painting, spraying, projecting, or performing on or around the mobile unit. The interior of the vehicle is a multi media space used to foster knowledge production and information exchanges through conversation and dialogue.
The MML hopes to collaborate with communities to re-imagine and activate a public domain where individuals have the liberty to creatively express themselves outside the confines of private space.
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