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... there is the paleolithic protomother, the prehistoric Venus, the mythical primordial couple and the egregious women of the dawn of the historical eras; there is the woman girl and the girl woman; the shaded adolescent, the nymph who dances and the naiad who hides, the exquisite young woman, the matron, the lady and the proprietor, the oldster; there is the woman serf and booty, humiliating portrait of the degradation of the male, the woman victim of the depredation intrafamiliar, he woman who sleeps alone caressed by the wind and the ghosts of the sleep under a luminous sky; there is the winning woman and the repudiated woman, the pretentious one, the unenthusiastic, the indifferent one …

   E. R. Blackaller

 
     
 
 

1990 – 1994
NUDES

   
 
 

Noche
1990

Silencio en gris No. 1
1990

Azotea
1990

Dualidadl
1990

 
 

Día
1990

Amanecer
1993

Desnudo en fondo azul
1993

Tierra ardiente
1994

     
 

1990. Exhibition. IBM Art Saloon. Stockholm, Sweden.
· Collective Sacred Art. Museo del Carmen. Mexico, D.F.

 
     
  painting cycle
XOCHIMILCO I
 
       
1990
 

 

Ahuejotes al viento, 1990

Amanecer en Xochimilco, 1990

 

 
  painting cycle
CHICONCUAC
 
       
 

Arco y bugambilia, 1991

Bugambilias en la Hacienda de Chiconcuac, 1991

 

 
 

painting cycle
HORIZON OF DEEP ROOT

       

 

Trueque de almas y
de cielos I, 1990

Trueque de almas y
de cielos II, 1990

Horizonte de raíz profunda, 1990

 
 
   
 

Espacio sin perfil

Extiendo la mirada y veo
sólo espacio, sólo cielo sólo mar.

Espero y llega

sólo espacio, sólo tiempo, sin tu andar.

  Lucille Wong

 

 
 
   
     
 

1991. Mural Gallop in silence (1.75 x 4.70 meters. Ink and metal on cotton paper) In the Postgraduate Unit of the Faculty of Veterinary Medicine and Animal Husbandry of the National Autonomous University of Mexico.
· Collective Mexican Engravers. Metropolitan Museum of Tokyo (UENO). Tokyo, Japan.
· Collective Presence of Mexican Art. Cultural Center of the Villa of Madrid. Madrid, Spain.

 
     
1991          
 

 

                 painting cycle
          DAY BY DAY
   
 

Florero sin mantel, 1990

Tres claveles rosas, 1992

 

El sabor de Puebla, 1991

Homenaje a Carlos
Williams Carlos, 1991

Florero en el jardín, 1991

 
     
 

... in some of the works of Lucille Wong, by abandoning its immediate reference seem to establish metaphysical landscapes, already within the currents of the lyric abstractionism.

   Clementina Díaz y de Ovando

 
     
 
  MURAL IN THE NATIONAL UNIVERSITY
 
     
  Galope en silencio, 1991  
 
     
 

It is obvious but also obligatory to make reference to the essence of oriental art in the painting of Wong. In the formal aspect can be spoken of a great calligraphic wealth, shallow backgrounds, daring perspectives, great movement and force in the line, reduced everything to its essential features. Moreover, the eastern nature is referred to its Western counterpart, of which the artist is very conscious and works in them to achieve a fruitful pictorial synthesis. The pantheistic relation of certain oriental doctrines with nature, relationship of harmony and veneration, It is present in this mural painting and enhances, finally, the role of the university campus where it is located.

   Julieta Ortiz

 
     
     
 

1992. First Biennial. Monterrey Museum. Nuevo León, Mexico.
· Collective Mexican Painters. House of the Culture. Exterior Service of Mexico. El Salvador.
· Collective Presence of Mexican Art. Museum Casa Águila y Parra. Santillana del Mar, Spain.

 
     
      ciclo pictórico
DESTELLOS EN EL AIRE
         
1992  
 

Lotos, 1992

 

Los claveles del camino, 1992

Orquideas, 1992

 
   
     
   

Destellos en el aire

Diminutos y frágiles
detonan en el aire
como verdades infinitas

fugaces destellos de sol

insaciables de luz.

 Lucille Wong

     
   
     
     
 

1993. Exposure To time... and in it. National Institute of Nutrition Salvador Zubirán. Mexico, D.F.
· Collective Cultural Exchange México-Canada. Maison des Arts. Ville de Laval, Quebec, Canada.

 
     
painting cycle 1992–1996
FLOWERS FOR RED TABLECLOTHS
1993
     


La madurez de las rosas, 1993

Rosas rosas, 1992

Flores de luz, 1993

Flores a la sombra, 1996

 
   
   
   
  Florero verde, 1994  
 
     
 

One of the greatest virtues of his painting is its ability of projection, its force of expression that comes straight to the Spirit, to the heart of the one who contemplates all these evidence of its immense interior life, of an immeasurable force of informing this world of force and of beauty, the world of Lucille Wong.

    Ilse Heckel

 
     
     
 

1994. The company Opus One Publishers of New York incorporates seven pieces by Lucille Wong to the contemporary Masters collection.
· Exhibition Mayan Princes. Gallery Djuugran Gomilia. Stockholm, Sweden.
· Collective Presence of Mexican Art. Maisón de Amérique Latin. Monaco.
· Collective Presence of Mexican Art in Santander. University of Cantabria. Santander, Spain. Collective
· Presence of Mexican Art. Maisón de Amérique Latin. Monaco.

 
     
1994
 

El Chico. La casa del bosque, 1994

Coyuya, 1994

El príncipe azabache, 1994

 
  drawings cycle
BALLET
       

Adagio en azul, 1994

Pas de deux, 1994

Organza rosa en espacio azul, 1994

   
 

Blanc et noir, 1994    

     
 

1995. Collective Art in autumn. Gallery Campus Acatlán, UNAM. Mexico.
· Collective World Council of Visual Artists. Domus Pacis. Assisi, Italy.

 
     
1995

Querubin,
1995

Pegaso al encuentro de un caballito,
1995

Caracolas sueltas,
1995

 
 
    painting cycle
XOCHIMILCO II
       
1996

El cielo y los ahuejotes, 1996

 

Tranquilidad, 1996

Gran árbol junto al canal, 1996

   

             Ahuejotes invertidos, 1996

   Ahuejotes en azul, 1996

   
     
 
 
 



Lugar de gotas


Una
gota de nube

una
gota de tiempo

y otra gota
de sentimiento

Xochimilco


  Lucille Wong

 


 
 
     
 

1997. Techniques and materials with the master Luis Nishizawa.
· Exhibition Romances of the wind and the flower. Museum MACAY. Mérida, Yucatán.
· Collective The colors of thought from border to border - 100 artists. Museum of Contemporary Art, UNAM.
· Collective Month of Mexican culture in Miami. Florida Museum of Hispanic and American Art. Miami, Florida, USA.

 
     
painting cycle
TUNING IN BLUE
 
       
1997

Sintonía de agua y azul,
1997

Un encantamiento,
1997

La paloma,
1997

 
 
painting cycle
HORSES, PRINTS
 
     
 

Caballo de fina estampa, 1997

Caballo en libertad, 1997

 
     
 

1998. Exhibition A drop of feeling ... Xochimilco. Xochimilco Ecological Park. Mexico City.
· Collective. Eroticism and Bulls. Old College of Christ. Mexico City
· Collective. Mexican painters of the twentieth century. Mexico City Museum.
· Collectively. The colors of the thought from border to border. Museum of Modern Art of the State of Mexico. Toluca, Mexico, D.F.

 
     
 
1998

 

Maceta con flores,
1998

Flores blancas,
1998

Germen,
1998

     
 

1999. Exhibition Petals landscapes and revealed gardens. Art gallery of the State of Tlaxcala. Mexico.

 
     
 
1999

La aurora se llena de rocío,
1999

Danza de primavera,
1999

 

 
painting cycle
STEEDS THAT THE SOUL RIDES
     

Pareja en noche clara, 1999

Potro rosso, 1999

Rompiendo el viento, 1999

 
 

De frente al sol, 1999

Potro salvaje, 1999

 

 
   

Corceles que cabalga el alma

El caballo surge
de la tierra.
Emerge
Con fuerza de volcán.

Piedra y fuego
hierven.
Conforman una figura fuerte,
de belleza imponente.




El caballo se desprende con brío,
independiente, enigmático,
indómito, irreductible,
amedrentador.

Lanza un relincho de lumbre,
alza la cabeza y agita la crín.

A galope,
tan solo el alma lo puede alcanzar.


  Lucille Wong

 

 
 

     
     
     
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