=Roberto Valdés Sánchez= ©/s (Xicano Artist)

-FEATURED ARTWORK-

"Paz" ("Peace") (1996)
- Color Pencil

Gangs are a plague that have affected my life, as well as many other countless lives in numerous communities. Many of those who are affiliated with gangs have all the potential in the world, but instead waste their time, energy, and talents on this negative cause. It is my opinion that most gang members suffer from a lack of identity and, because of this, join a local gang to feel a sense of belonging. It’s their own mis-educated way of rebelling against the system they feel has abused them. To combat this type of mentality, we must teach young Chicanos about their history and culture – something that public schools purposefully do not do. Remember that “knowledge is power!” Knowing where you came from and realizing the struggles that various generations have had to continue to overcome is a revelation that forces you to look at life differently and deeply influences your actions in a positive way. This is what inspires me as an artist to visually teach historical, cultural, and political material in order to make people think and learn more about themselves.

“Paz” (“Peace”) is a dream sequence that shows a supernatural Aztec being joyfully embracing his peaceful vision of Norteño and Sureño gangs. There are several symbolic connections taking place inside the visionary cloud, not only with the silhouettes of rival gangs shaking hands, but also with the connecting bridge & telephone lines in the background (symbolizing “communication”) and the merging railroad tracks in the foreground (revealing a united path to the future). The ultimate symbolic figure is the mythical Aztec spirit representing our history, our culture, and our indigenous heritage. With his tri-colored headdress and eagle-like features, his image embodies the Mexican flag. Like a father, he embraces his long-lost sons and is driven to tears after finally seeing them reconcile their differences. He epitomizes the cultural and historical bond that is shared by the rival Chicano gang members.

"Raza" (2001)
- Computer Art (Photoshop)

The serpent and eagle emblem, found in México’s National Coat of Arms, was inspired by an Aztec legend regarding the founding of Tenochtitlán. According to popular legend, the Mexica (pronounced “me-shee-ka”), then a nomadic tribe, were wandering throughout México in search of a sign that would indicate the precise spot upon which they were to build their capital. The god Huitzilopochtli had commanded them to find an eagle on top of a nopal cactus devouring a snake. After wandering for hundreds of years, they found the promised sign on a small island in the swampy Lake Texcoco. Here, they founded their new capital in 1325, named Tenochtitlán (meaning “Place of the Nopal Cactus”), which later became known as México City, the current capital of México.

With “Raza”, I wanted to pay tribute to my rich Mexican history by creating an elaborate collage utilizing a collection of cultural, historical, and political images. Floating above the detailed background, and flanked by green and red serpent motifs, is México’s serpent and eagle emblem. The end result is my own adaptation of the Mexican flag, supported by a pictographic history of a proud and resilient people.

"Mi Sol" ("My Sun") (2003)
- Acrylic Paint & Color Pencil

In Aztec mythology, Tonatiuh was the sun god and considered the leader of Tollan, their heaven. He was responsible for supporting the universe. The Aztecs believed that four suns had been created in four previous ages, each one of them dying at the end of their cosmic era. Tonatiuh is the fifth and current sun (quinto sol) representing “movement” – the four previous being “earth”, “wind”, “fire”, and “water”. Tonatiuh’s image can be found at the center of the Aztec calendar, a testament to his importance in Aztec society.

The image of Tonatiuh is utilized in much of my artwork. To me, his image represents our historical and cultural past and is symbolic of our deep roots to this land. In “Mi Sol” (“My Sun”), I wanted to paint Tonatiuh in his splendor – soaring up in the sky and radiating his light throughout the world. I chose to paint him in warm colors and placed cool colors in the background in order to create a nice contrast. Using vibrant earth colors, I finished off the painting by adding an Aztec-style border to frame the celestial image.

"César el Santo" ("César the Saint") (2003)
- Charcoal

César Estrada Chávez is one of my all-time heroes. Born on March 31st, 1927, he was a farm worker, labor leader, and a civil rights activist who co-founded the National Farm Workers Association (NFWA), which later became the United Farm Workers (UFW). His work led to numerous improvements for migrant workers across the U.S. Chávez has become a remarkable symbol – for Latinos, community activists, the labor movement, young people, and all who valued his values and commitment. In the process, he trained a generation of activists who would apply their skills in other communities and struggles. César Chávez died on April 23, 1993, near his birthplace in Yuma, Arizona. He was 66 years old. His birthday on March 31 has subsequently become a holiday in a handful of U.S. states, and a number of parks, cultural centers, libraries, schools, and streets have been named in his honor in several cities across the United States. Today, Chávez is hailed as the most important Latino leader in U.S. history.

“César el Santo” (“César the Saint”) is dedicated to Chávez’s legacy. To me, César was a wise and saint-like individual. My goal with this drawing was to convey these two ideas in his portrait. To accomplish this, I focused on the detail of his eyes and wrinkles on his face in order to capture his age, patience, and experience. I also wanted for viewers to connect with him by showing a warmness to his aged face. In the background, I placed a halo of light radiating around his head to give César a saint-like quality.

"El Che" (2003)
- Charcoal

Revolutionary leader Ernesto “Che” Guevara, who philosopher Jean-Paul Sartre once referred to as "the most complete human-being of our time", was a dashing rebel whose epic dream was to end poverty and injustice in Latin America and the developing world through armed revolution. Born on June 14, 1928, he left his comfortable Argentine existence at a young age to dedicate his life to revolutionary causes around the world – from the battlefields of the Cuban revolution to his assassination in the Bolivian jungle on October 9, 1967. I have deep respect for “Che” Guevara because, unlike many political theorists, not only did he develop and preach his ideologies, but he was fully prepared to put his life up and fight for them. He had an intense resolution to pursue an ideal that he felt so absolutely and unwaveringly for. Che was willing to sacrifice his incredible political value, intelligence, and physical body for the oppressed masses of Guatemala, Cuba, the Congo, and finally, Bolivia. To many people around the world, Ernesto “Che” Guevara is, and forever will be, the ideal revolutionary.

In “El Che”, I wanted to reveal a personal side to the famed revolutionary icon that most people are not familiar with. We are all used to seeing pictures of a fearless “Che” wearing his famous black beret with a little star. In my portrayal of him, I wanted to capture an intimate portrait of the man behind the black beret. To me, “Che” Guevara was an intellectual and I wanted to illustrate this by showing him deep in thought.

"Los Guerreros" ("The Warriors") (2003)
- Charcoal & White Pencil

It’s hard to find a bigger boxing fan than me! I love the personalities, the skill, the determination, the drama, the one-on-one aspect, and the heart that goes along with the sport. It’s a sport where the combatants wear their emotions on their sleeve and you really feel like you get to know a fighter after seeing him push himself to the limit, round-after-round, in a tough and grueling brawl. There is nothing better than watching a good fight!

In “Los Guerreros”, I wanted to get in as close to the action as possible and capture the warrior in the fighter. My intention with this piece is for the viewer to experience the ferociousness and complete concentration that a fighter experiences in combat; when the fighter is “in the zone”, so to speak. This drawing captures boxer Oscar de la Hoya frozen a moment before landing a blow on rival Ike Quartey in their 1999 fight. De la Hoya’s snarling, disfigured face of total concentration on his target is the focus of this drawing.

"Malcolm el AfroXicano" (2005)
- Gouache Paint

I admire Malcolm X for being a visionary and an advocate for oppressed people around the world. During his brief lifetime, he experienced a personal journey from a petty criminal, to a preacher of “white” hatred, to an internationally recognized spiritual leader who advocated for interracial and international brotherhood. He eventually came to believe that there was a potential for a cross-racial alliance. What I most admire about him is that he represented a more militant side of the Civil Rights Movement that demanded for change to happen now and not later on in the future. To me, Malcolm X was an “Afro-Chicano”.

In “Malcolm el AfroXicano”, I combined yellow & red and added tints (white) & shades (black) to create an analogous color portrait of Malcolm X. First, I separated all of the significant values of Malcolm’s portrait and changed them into organic shapes. I then began to paint each shape a different color, starting with yellow & white for the highlights and gradually adding red & black to make the shades. When painting this type of portrait, my focus is on the various shapes created by the values and not at the portrait as a whole. If it is done correctly, the features of the face form themselves. When looking at this style of painting from up close, you see a bunch of painted blobs of similar colors. The further you look at the painting, the more the portrait is formed by these blobs until the various organic shapes begin to blend smoothly with each other. This effect is created using the right mix of colors and shades. If any of the colors are a bit off, it throws off the whole painting.

"Zapata Intenso" ("The Intense Zapata") (2005)
- Gouache Paint

Emiliano Zapata (August 8, 1879 – April 10, 1919) was a leading figure in the Mexican Revolution who formed and commanded an important revolutionary force called the “Liberation Army of the South”. He is considered to be one of the most outstanding and most revered national heroes of México. To many Mexicans, specifically the peasant and indigenous citizens, Zapata was a practical revolutionary who sought the implementation of liberties and agrarian rights outlined in the Plan de Ayala. He was a realist with the goal of achieving political and economic emancipation of the peasants in Southern México and leading them out of severe poverty.

“Zapata Intenso” (“The Intense Zapata”) is an intimate portrait of the famous revolutionary leader that emphasizes his expressive face and intense stare. It shows a poor indigenous man, hardened by years of abuse and frustration. His eyes are the most revealing, as they show a sad but determined gaze of a man who is fed up and has nothing to lose. It is the look of a man you don’t want to mess with! “Zapata Intenso” is painted in the complimentary color scheme of the Mexican flag – green and red. In this case, I used an intensely vibrant red for the highlights on Zapata’s face and gradually transitioned it into a deep green for the shadows.

"La Unión Hace La Fuerza" ("Unity Makes Strength") (2005)
- Gouache Paint

Created in 1962 by César Chávez’s brother, Richard Chávez, the huelga thunderbird is a powerful symbol used as the emblem for the United Farm Workers movement. It was designed geometrically for fast and easy reproduction on handmade red flags; a simple image that can be reproduced by anyone. The Aztec eagle design represents strength, power, and dignity. It is a symbol that still brings pride and courage to all Chicanos everywhere.

In “La Unión Hace La Fuerza” (“Unity Makes Strength”), I created a colorful pattern using the huelga thunderbird as the basis. Taking advantage of its geometric design, I fitted together many eagles to create this intricate puzzle. What makes this painting so interesting is that the pattern also works when flipped upside-down; the result is a different vibrant effect. To attain a nice balance of colors, I used a red analogous split complementary color scheme in which the eagles are painted in various hues of red and the little gaps in the background are in greens. Without ever using lines, I relied on the separation of colors to create each shape in the painting.

"El Hombre de Oro" ("The Man of Gold") (2005)
- Gouache Paint

This painting was inspired by a famous photograph taken in March of 1966. It shows civil rights leader César E. Chávez leading a group of strikers on a historic 250-mile march from Delano to the California state capitol in Sacramento, in order to draw national attention to the plight of the farmworkers. The pilgrimage began on March 17 and ended on April 11, 1966 – Easter Sunday.

In “El Hombre de Oro” (“The Man of Gold”), I used various shades of reds throughout the painting to symbolize the power created when the people are united for “la causa”. Red is also the primary color that is used in the United Farm Workers (UFW) flag. Standing out from the crowd, painted in various shades of gold, is César Chávez. He was the guiding light, the driving force, the spark of the farmworker and the Chicano movement. Chávez is, and always will be, the “man of gold”.

"Mandala Azteca" (2005)
- Gouache Paint & Black Ink

The Aztec calendar, also known as the Sun Stone, is a huge twenty-five-ton monolith created in 1479, during the reign of the 6th Aztec monarch. Uncovered on December 17, 1790, it was found buried face down by workers excavating a street alongside México City’s main plaza, near what was once a corner of a ceremonial center of Tenochtitlán (the Aztec capital). The stone, carved with symbols depicting the Aztec universe, calendar, history and lore, was a fascinating discovery and has since been the most studied and written about single example of Mesoamerican art. It consists of a 365 day calendar cycle and a 260 day ritual cycle. These two cycles together form a 52 year "century", sometimes called the "Calendar Round”. The stone is much more than a calendar, an astronomical guide, or a sun symbol: it is the depiction of the universe and of Aztec concepts of their place, both terrestrial and celestial, within the universe. It currently is exhibited at the National Museum of Anthropology and History in Chapultepec Park, México City, where it stands today as the centerpiece of Aztec culture.

“Mandala Azteca” explores unity, harmony, and symmetry in shape and color using the inner, circular design of the Aztec calendar. A yellow analogous split complimentary color scheme was used to attain a nice balance throughout the painting. Small sun motifs placed on the outside corners of the mandala serve to frame the piece and to show a connection to the central focal point of the design – the Aztec sun god, Tonatiuh. These sun motifs also make an outer, squared border that help balance the overall circular design of the Aztec calendar. Black ink was added at the end to separate the various colors and to enhance the detail.

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