ARTE MECCO: The Black Ladies Series 1991 & 1994. Part I & Part II.

What captured my creativity was the different blots of black ink that invaded negative space. The white paper look whiter when this screened black ink was applied. This concept had replaced for me, the heavy burden of using watercolors or color ink to create depth upon a negative surface. The pulling of the screen gave the space an antiquity effect.

The problem was how to incorporate a softness into this exploration. This is when the usage of the soft color pencil became the solution. This crude print making is similar to Impressionist paintings. The blots and smears could display an entire scene, por example: a meadow, forest, clouds etc. ARTE MECCO is heavily assisted by this Impressionistic method. The ARTE MECCO/THE BLACK LADIES SERIES painting Johnnie Mae , gives one the impression of a beauty woman looking over her shoulder in the morning mist of a meadow. The impression is carried further, as this painting looks more like an etching.

The Balance Act (#3)of heaviness and lightness through ARTE MECCO/THE BLACK LADIES SERIES, has instill the equilibrium of dividing the painting into sections as one would view an Impressionistic painting. The imagination of the individual viewer, forms the images similar to the viewers cognitive thoughts. ARTE MECCO/THE BLACK LADIES SERIES, was crossbred with the attention I was paying toward my pastel works (#4). The softness of ARTE MECCO/THE BLACK LADIES SERIES was a definite inspiration to the fascination I was enthralled with, during this period of pastel working.

Part II

JACKSONVILLE, Florida 1994

The continued journey of this type of ARTE MECCO creating, let me work upon large pieces of paper. I used the back of large 1990s Olympic posters as paper. Inspiration began to recirculate through my veins after I started to use the very first etching-like black paint onto the paper. I use a cloth screen to give the paper a fabric-like woven appearance. The hints of Impressionism remain intact following the Indianapolis period. I rediscovered that making circular movements with the hand, created a fluffy like softness onto the paper. The negative space which appeared between the application gave me much inspiration, as it made the painting look ethereal. The exploration of text colors ( black and white) revived ARTE MECCO in a literary painting. The absence of color and the developing of "The Hyglyx: as in the painting Alisha #89/1994, has made ARTE MECCO plainly abstract.

The hints of Impressionism, with its dreamy and airy appearance, has balanced the ARTE MECCO/THE BLACK LADIES SERIES paintings into that of revisiting nostalgia. This duel-antiquity, makes the paintings look as if they are a canvas painting somehow interwoven onto paper and it makes the paintings look like as if they are a vintage antique photograph. ARTE MECCO/THE BLACK LADIES SERIES has more of it likeness based into the Impressionistic period, while peering. patiently into the Abstract period. The blurriness of the ARTE MECCO/THE BLACK LADIES SERIES have the same symbolic recognition as that of Impressionism. A person can envision great movement amongst the balancing of the Black and White. This is taken further into Impressionism, as shades of gray peek and than fade away or migrate into the Black and White.

ARTE MECCO/THE BLACK LADIES SERIES have the similarities of looking onto an old manuscript. This etching like creation centers the ARTE MECCO/THE BLACK LADIES SERIES as if it was a period photograph.

SUPPORT ARTICLES:

1) The History of ARTE MECCO by Hugeaux. www.ncanewyork.com

2) ARTE MECCO / The Interpretation of the Hyglyx by Hugeaux.
www.minorityprofessionalnetwork.com

3) ARTE MECCO / The Balancing Act by Hugeaux.
www.minorityprofessionalnetwork.com

4) Hugeaux: Diary of an Artist (excerpts) January 1993 / Indianapolis, Indiana

By Hugeaux. www.minorityprofessionalnetwork.com