Mexicraneos 2019

It has started. Finally after a long wait for the skulls to arrive. Searching for space to work. Trying to get all the numbers to work. It was a typical “ahorita” – hurry up and wait for syndrome here in Mexico. But, yesterday I went and visited the worksite where they store the craneos.

Introducing …

It was great to see the actual skull in person. To touch it. To understand the scale. It gives me pause. I have to think about how I am going to work in these conditions, with this material, in a new way that pushes everything forward. No pressure. JAJA. But the idea here is to continue with Transmutación series and see how the 3D aspect and addition of a tech piece will evolve things.

Understanding the scale and how the shape works. I generally like to use Instagram Stories to broadcast my sessions. @ChromaticExplorer

I have a ton of videos about my process on my youtube channel.
Search ChromaticExplorer and subscribe.

In the video above I needed to use my hand to have a reference for the scale and the way the shape is formed. How will the paper work on those shapes? Will I cover the entire surface or use the provided surface to create a pattern by breaking the paper? I am thinking about the eye sockets and how I can use that shape and create a sense of connection to the viewer.

With that visit, it was just the spark I needed to dig in. Weeks of waiting and sketching with no connection to the form. No connection to scale. It was a very difficult time for me. I wanted to jump into another project, but I never knew when the craneo would arrive. I hate leaving a project undone, so starting something was difficult. I spent a lot of time tooling around, visiting museums, resting, making improvements on my space, and falling in love.

I have a ton of videos about my process on my youtube channel.
Search ChromaticExplorer and subscribe.

And so now it starts. I am considering the scale of the pieces I want to create and attach. It feels like I am going to go smaller than what is shown in the video. But working the paper down is a part of the process. So I am editing this piece of paper and photographing the entire process to sale the prints. I am considering using specific spaces on the skull to create visual impact and connection with the audience. In the same way, I try to balance abstraction and the narrative of a figure introduced. So far I am thinking of pulling in an already painted dancer image as the central pull on the forehead, but then I also think I am just needing something solid to start from. After all, I don’t go from a white canvas. I do interventions. Working up from the white surface of the skull is different on top of differences.

In the end, it really is about trusting the process I already know even on a new surface I have never used before. Allowing it to unfold naturally and adjusting to the circumstance is always apart of making great art for me. The more control I exert the less likely I am to be pleased with the outcomes. My mind is a trap.