Jose Rodeiro

Jose Rodeiro

Photo credit: Bella Unica Art Gallery

José Rodeiro is a Visual Artist’s Fellow in Painting from the National Endowment for the Arts; and a recipient of a Fulbright Scholarship in Painting, which he completed at the University of Central America (UCA), Managua, Nicaragua), as well as a recipient of a Cintas Fellowship in painting.

He received his M.F.A from Pratt Institute, NY and his Ph.D. from Ohio University’s College of Fine Arts. He obtained his undergraduate degree from the University of Tampa. He is a graduate of Jesuit High School, Tampa, Florida.  He has lived and worked in Spain, Central America, and Latin America.

He has received major public art (mural) commissions from Tampa Arts Council, Tampa, FL, and Maryland State Arts Council, Baltimore, MD.

His exhibitions include such venues as the Miami-Dade Museum of Art & Design, Miami, Florida; The Monmouth Museum, Lincroft, New Jersey;  Union City Museum, Union City, NJ; The Museum of Fine Arts, Washington County, Hagerstown, Maryland; Mason Gross Galler, Rutgers University, NJ; Wilmer Jennings Gallery, Kenkelaba Gallery (the New York State Arts Council Gallery in Manhattan) NYC, NY; Florida International University’s Frost Museum (Miami, FL), The Korea Gallery (NYC, NY), Newark Museum; NJPAC; Galleries of Contemporary Art (GoCA), University of Colorado, Colorado Springs,  Rutgers University’s UMDNJ’s Robert Wood Johnson Gallery; Joyce Gordon Gallery, Oakland, California; Perth Amboy Gallery (Center for the Arts); El Museo de la Historia de Ponce (The Ponce Museum of History (“MoHP”), Ponce, Puerto Rico; PCCC Broadway/LRC Gallery (Paterson, NJ), Gallery Korea, NYC, NY;  Therese A. Maloney Art Gallery (College of Saint Elizabeth, Morristown, NJ), and other venues. In October 2009, Rodeiro lectured on his painting “9/11” at The Tribute WTC Visitor Center (at Ground Zero, New York City, NY).   Dr. José Rodeiro is a former-Professor of  Art History and Fine Arts at New Jersey City University (Jersey City, New Jersey).  And, has lectured as a Visiting Professor, Department of Visual Poetics, UNESP (Sao Paulo University, Bauru), Brazil, fall 2011, and as a Visiting Professor, Art Department, UNESP (Sao Paulo University), Sao Paulo, Brazil, fall 2011.

And, he worked in Barcelona, Spain, from 1985-1986, during his Visual Artist Fellowship in Painting from the National Endowment for the Arts, [(Washington, DC)].

Like Milton Glaser, I tend to work in several styles simultaneously, with set themes of cats, people, landscapes, bodegones (Still-life images), and wild-horses.

Each theme requires a specific artist statement.  However, for our purposes, I will write an “Artist Statement” about my horse painting series, which (for me) exist as “Beach Improvisations,” arising from innate intuitive visions, concerning animistic perceptions about how nature perceives itself.   My horse images are painted in blues.  And, they express creative inspirations echoing Henrí Bergson’s concept of primal élan vital with its veritable Primordialism (or Neo-Shamanism).  Also, inspiring my horse imagery is a peculiar artistic morphogenesis wherein enigmatic forgotten shapes, springing from what Dr. Nicomedes Suarez-Arauz calls “Amnesis artistic lacunae,” wherein mental images house a lost immanent labyrinthic Amnesis mental cave whose ‘cave-walls’ are furtively covered (or decked) with nearly-vanished animistic, shamanic, elemental or atavistic images.  These Amnesis “lost object” are artistically transposed from my immanent mind into “the viewer’s” sensate transcendental realm by flatly applying an array of sublime chromatic hues (burnt violets, icy blues, rosy pinks, and burnt orange) as distinct organic or abstract morphogenic shapes that are painted with pigments on a flat surface, transmitting my mind’s innate individual intuitive vision(s) into numerous visible shapes, forms, and spaces ‒ resulting in an enigmatic musical and poetic push/pull medley of metaphors, symbols, signs, and surfaces.

This musical visual jumble activates dancing 2-D surface(s) forging a unique visual push/pull, affording subtle visceral, emotive, and synesthetic 3-D, 4-D, and 5-D possibilities evoked by each image’s pictorial continuum, revealing jumbled intersecting hue-filled chromatic zoomorphic shapes consisting of diverse small-colorfield hue shapes, paralleling each image’s rhapsodic life-like chaotic scherzo of disordered patterns, imaginatively presaging twilight or early nightfall along a Florida Gulf Coast shoreline, resulting in an ultra-zoomorphic beach scene.

Thereby, expressing the spirit of each subject’s and scene’s essential noumenon (essence of existence) without depicting subjects and scenes as mere materialistic factual objective phenomena.  My Primordialist Neo-Shamanic art sublimates and abstracts chromatic immanentist essence(s) that populate each image’s pictorial continuum.