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painting cycle
STILL LIFE

           
1980

 

Maceta, 1980

Estanque de lotos, 1980

Still life,
Rojo oxido
No. 2, 1980

Naturaleza muerta
No. 3, 1980

Florero rojo, 1980

     
 

1981. Collectively 8 Mexican artists in the Inter-American Development Bank. Washington D.C. USA.

 
     
 

1980 – 1981
NUDES

   
  1981
  Belleza mexicana No. 5, 1980 Cálido mármol, 1981 Desnudo recostado, Firenze, 1981  
 
     
 

Seduced by the splendor of the nude begins under the discreet but sensible conduction of Robin Bond an approach to the human figure to be prolonged 16 years (1978 – 1994), a dazzling facet reflected, in more than a thousand Works (I include within that figure some pages of notebooks that treasures findings and predilections), an intense and calm, fierce and reflexive look on the contradictory nature surrounding the being and the condition of humans.

   E. R. Blackaller

 
 
 
 

In the Wong painting, the relation of the figures with the space demonstrates the pictorial wisdom of the artist. The bodies never suffocate space. Nor does it minimize those. They do not even compete, harmonize, complement each other and minimize those. Thus, the nakedness power to its presence, but without revealing itself completely, protected behind a fog of mystery. And it is already known, without mystery there is no art.

   Javier Villarreal Lozano

 
     
 
  painting cycle
PORTRAITS

Apolinaire, 1981

La tierra y el universo,
1981

Les yeux, 1981

Samurai, 1982

Autorretrato, 1982

 

Caballo en sepia, 1981

     
 

1982. Exhibition. The Gallery, Monterrey, Mexico.

 
     
           
1982    
 

Paraguas contra una tormenta interior,
1982

Luchadores de Sumo No. 11,
1982

Luchadores de Sumo No. 6, 1982

 

 
  

painting cycle
TO FORCE OF SILENCES

 

Como si quisiera volar,
1982

Maceta, 1982

A fuerza de silencios,
1982

Toro, 1982

Palmas, 1982

 
       
 
           
       

Paisaje silente


Solo susurran los carmines de la tarde
se acallan los colores
se aquietan las flores.

Mudo se enreda el viento en hojas y tallos :

A fuerza de silencios
canta la noche.

   Lucille Wong

 
       
 
 
     
 

The best artists are, for me, those who paint for the need to express themselves and communicate spiritually; this is the case of Lucille Wong.

   Miguel Bueno

 
     
 
 

painting cycle
EMKU

     
 

1983. Biennial of drawing. Palace of Fine Arts. Mexico, D.F.

 
     
1983
 

   Príncipe Maya, 1983

   Chilan,1983

     
     
     
    Emku, 1983

 

 

 
  GUILIN, CHINA
       
   
 

  Guilin, 1983

Guilin, montañas, 1983

 
 
     
 

The kingdom that breathes strength to the painting, is not the flower neither the gardens nor the forests and landscapes, but the plastic image – esthetics of the look and lightness – the one that clarifies and sustains the flower and its paradises.

   E. R. Blackaller

 
     
  CHINES INK
   
1984

 

El abuelo, 1984

Sol y sombra, 1984

Apunte, 1985

Dios del trueno, teatro Kabuki, 1985

         
 

painting cycle
FISHES

         
  Pez dorado 1984 Pez rojo y pez dorado, 1984    
     
     
 

Pequeño pez, 1984

Dos peces, 1984

   
     
 

1985. Exposure Chinese ink for scratch the light. The Michoacan Culture Institute, Morelia, Mexico

 
     
         
    1985

 

Caballo gris, 1985

   
 

 

painting cycle
BY THE HIGH SCAFFOLDS OF THE FLOWERS  

     
 
 

Por los altos andamios de las flores, 1985

 Entre espacios azules, 1985

   
 

Los secretos de la noche,
1985

Flor de loto, 1985

La hoja verde, 1985

 
 
     
 

In the body abandoned to its own weight is represented the accumulation of shame, the spite and the powerlessness along monotonous days in rooms and places of disaffection, stays where roar domestic storms that drown the voices, the noises and the uncertain music of the streets.

   E . R. Blackaller

 
     
     
 

1986. Artistic photography, engraved in metal and nude, with the masters Luciano Ricci and Roberto Ciabani. Florence, Italy.
· Collective II International Forum of the stamp in the Conciergierie. Paris, France.

 
     
  1986 – 1989
NUDES
         
1986

 

Mujer apoyada, 1986

Desnudo en verde, 1987

Desnudo en azul, 1987

Forma en el silencio uno, 1987

         


Mirada azul, 1988  

 Contraluz.
 Taller de desnudo,
 1988

 Violencia No. 2, 1988

 

Desamparo, 1988

 

Paris
Homenaje a Tamara de Lempicka,
1988

 

       
 

Lapizlázuli, 1989

     
 
 

painting cycle
FLOWERS TANGLED IN THE AIR

 
 

Flores enredadas en el aire, 1986

Árboles en flor, 1986

Cielo amarillo, 1986

 
 

painting cycle
PETALS LANDSCAPE

 
 

Borrasca, 1986

Floración, 1986

Almendro, 1986

 
 
   
       
  Paisaje de pétalos


A un pedacito de campo
se le abren claros de luz

Laderas y valles
se pintan de flores
el día las baña de azul.





La mañana se extiende,
la mece el viento,
y a lo lejos
fuertes trazos
la manchan de sol.


  Lucille Wong

             
 
   
 

1987

  HORSES  
 

Caballo de crin blanca.
Vientos cruzados,
1987

Caballo negro portugués, 1987

Palomino, 1987

Caballitos pompeyanos, 1987

 
     
   
 

Pareja de caballos, 1987

     
 

painting cycle
MAYAN PRINCES

 
       
 

Pareja cósmica, 1987

El ego y las mariposas, 1987

Observando las flores, 1987

 

 
     
 

1988. Retrospective, Ancient College of San Ildefonso. Mexico, D.F.
· Collective Wong-Vega-Takeda. Elba Gallerie. Stockholm, Sweden.

 
     
  painting cycle
IGUAZÚ
 

El viento conmueve el agua al penetrarla,
1988

Lago argentino,
1988

1988
 
 

La garganta del diablo, 1988

El cielo abrazado por la tierra, 1988

                   
 

drawings
TURANDOT

Principessa di norte, 1988

Chiedo di afrontare la prova,
1988

No, richezza no, 1988

                   
 

painting cycle
THE SPRING

     
 
 

La primavera, 1988

Alcatraces, 1988

           
     
   
     

Amanecer

Silencio de horas
viento en reposo
palabra en la piel

Anuncian desde la ventana
el abismo del amanecer.

  Lucille Wong

   
     
   
     
 

1989. Exhibition Mayan Princes in the Society of Swedish Industrialists. Stockholm, Sweden.
· IX International Biennial of Art. Valparaiso, Chile.
· Collective The Woman in the Fine Arts. Museum of the Watercolor. Mexico City

 
     
  drawings cycle
DANCERS
1989
         
 
 

La primavera, 1988

Alcatraces, 1988

 

                   
     
 

There are not in Lucille Wong alleged universal truths, ideological offerings or metaphysical sermons, but what upsets its sensibility and hurts its human condition: the silences of the night, the revealed gardens, the process of the flower, the limpid colors, the stupor before the cosmos, the mysteries of the face and bodies, the blue.

   E. R. Blackaller

 
     
                   
 
 

     
     
     
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