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painting cycle
STILL LIFE |
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1980
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Maceta, 1980 |
Estanque de lotos, 1980 |
Still life,
Rojo oxido
No. 2, 1980 |
Naturaleza muerta
No. 3, 1980 |
Florero rojo, 1980 |
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1981. Collective exhibition 8 Mexican artists in the Inter-American Development Bank. Washington D.C. USA. |
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Seduced by the splendor of the nude she 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 treasure findings and predilections), an intense and calm, fierce and reflexive look on the contradictory nature that surrounds the being and the condition of humans.
E. R. Blackaller |
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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 |
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painting cycle
PORTRAITS
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Apolinaire, 1981 |
La tierra y el universo,
1981 |
Les yeux, 1981 |
Samurai, 1982 |
Autorretrato, 1982 |
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Caballo en sepia, 1981 |
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1982. Solo exhibition. The Gallery, Monterrey, Mexico. |
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| 1982 |
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Paraguas contra una tormenta interior,
1982 |
Luchadores de Sumo No. 11,
1982 |
Luchadores de Sumo No. 6, 1982 |
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painting cycle
THE FORCE OF SILENCE |
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Como si quisiera volar,
1982 |
Maceta, 1982 |
A fuerza de silencios,
1982 |
Toro, 1982 |
Palmas, 1982 |
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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
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The best artists, for me, are those who paint for the need to express themselves and communicate spiritually; this is the case of Lucille Wong.
Miguel Bueno |
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painting cycle
EMKU |
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1983. Biennial of drawing. Palace of Fine Arts. Mexico, D.F. |
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| 1983 |
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Príncipe Maya, 1983 |
Chilan,1983 |
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Emku, 1983 |
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GUILIN, CHINA |
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Guilin, 1983 |
Guilin, montañas, 1983 |
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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 |
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CHINES INK |
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| 1984 |
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El abuelo, 1984 |
Sol y sombra, 1984 |
Apunte, 1985 |
Dios del trueno, teatro Kabuki, 1985 |
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painting cycle
FISHES |
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Pez dorado 1984 |
Pez rojo y pez dorado, 1984 |
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Pequeño pez, 1984 |
Dos peces, 1984 |
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1985. Solo exhibition Chinese ink to scratch the light. The Michoacan Culture Institute, Morelia, Mexico |
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1985 |
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Caballo gris, 1985 |
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painting cycle
BY THE HIGH SCAFFOLDS OF THE FLOWERS |
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Por los altos andamios de las flores, 1985 |
Entre espacios azules, 1985
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Los secretos de la noche,
1985 |
Flor de loto, 1985 |
La hoja verde, 1985
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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 domestic storms roar that drown the voices, the noises and the uncertain music of the streets.
E . R. Blackaller |
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1986. Artistic photography, engraving 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. |
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1986 – 1989
NUDES |
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| 1986 |
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Mujer apoyada, 1986 |
Desnudo en verde, 1987 |
Desnudo en azul, 1987 |
Forma en el silencio uno, 1987 |
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Mirada azul, 1988 |
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Contraluz.
Taller de desnudo,
1988 |
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Violencia No. 2, 1988 |
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Desamparo, 1988 |
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Paris
Homenaje a Tamara de Lempicka,
1988 |
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Lapizlázuli, 1989 |
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painting cycle
FLOWERS TANGLED IN THE AIR |
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Flores enredadas en el aire, 1986 |
Árboles en flor, 1986 |
Cielo amarillo, 1986 |
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painting cycle
PETALS LANDSCAPE |
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Borrasca, 1986 |
Floración, 1986 |
Almendro, 1986 |
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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
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1987 |
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HORSES |
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Caballo de crin blanca.
Vientos cruzados,
1987 |
Caballo negro portugués, 1987 |
Palomino, 1987 |
Caballitos pompeyanos, 1987 |
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Pareja de caballos, 1987 |
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painting cycle
MAYAN PRINCES |
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Pareja cósmica, 1987 |
El ego y las mariposas, 1987 |
Observando las flores, 1987 |
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1988. Retrospective, Ancient College of San Ildefonso. Mexico, D.F.
· Collective Wong-Vega-Takeda. Elba Gallerie. Stockholm, Sweden.
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painting cycle
IGUAZÚ |
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El viento conmueve el agua al penetrarla,
1988 |
Lago argentino,
1988 |
| 1988 |
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La garganta del diablo, 1988 |
El cielo abrazado por la tierra, 1988 |
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drawings
TURANDOT |
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Principessa di norte, 1988 |
Chiedo di afrontare la prova,
1988 |
No, richezza no, 1988 |
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painting cycle
THE SPRING |
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La primavera, 1988 |
Alcatraces, 1988 |
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Amanecer
Silencio de horas
viento en reposo
palabra en la piel
Anuncian desde la ventana
el abismo del amanecer.
Lucille Wong |
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1989. Solo exhibition Mayan Princes in the Society of Swedish Industrialists. Stockholm, Sweden.
· IX International Biennial of Art. Valparaiso, Chile.
· Collective exhibition The Woman in the Fine Arts. Watercolor museum. Mexico City |
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drawings cycle
DANCERS |
1989 |
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La primavera, 1988 |
Alcatraces, 1988 |
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There are no alleged universal truths, ideological offerings or metaphysical sermons in Lucille Wong, but what upsets her 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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