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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, the oldster; there is the woman serf and booty, humiliating portrait of the degradation of the male, the woman victim of the intrafamiliar depredation, he woman who sleeps alone caressed by the wind and the ghosts of 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 |
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1990 – 1994
NUDES |
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Noche
1990 |
Silencio en gris No. 1
1990 |
Azotea
1990 |
Dualidadl
1990 |
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Día
1990 |
Amanecer
1993 |
Desnudo en fondo azul
1993 |
Tierra ardiente
1994 |
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1990. Solo exhibition. IBM Art Saloon. Stockholm, Sweden.
· Collective Sacred Art. Museo del Carmen. Mexico, D.F. |
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painting cycle
XOCHIMILCO I |
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1990
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Ahuejotes al viento, 1990 |
Amanecer en Xochimilco, 1990 |
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painting cycle
CHICONCUAC |
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Arco y bugambilia, 1991 |
Bugambilias en la Hacienda de Chiconcuac, 1991 |
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painting cycle
DEEP ROOT HORIZON |
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Trueque de almas y
de cielos I, 1990 |
Trueque de almas y
de cielos II, 1990 |
Horizonte de raíz profunda, 1990 |
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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 |
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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 Zootechny of the National Autonomous University of Mexico.
· Collective exhibition Mexican Engravers. Metropolitan Museum of Tokyo (UENO). Tokyo, Japan.
· Collective exhibition Presence of Mexican Art. Cultural Center of the Villa of Madrid. Madrid, Spain. |
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| 1991 |
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painting cycle
DAY BY DAY |
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Florero sin mantel, 1990 |
Tres claveles rosas, 1992 |
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El sabor de Puebla, 1991 |
Homenaje a Carlos
Williams Carlos, 1991 |
Florero en el jardín, 1991 |
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... in some 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 |
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MURAL IN THE NATIONAL UNIVERSITY |
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Galope en silencio, 1991 |
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It is obvious but also obligatory to make reference to the essence of oriental art in the painting of Wong. In the formal aspect we can speak of a great calligraphic wealth, shallow backgrounds, daring perspectives, great movement and force in the line, everything is reduced to its essential features. Moreover, the eastern nature is referred to its Western counterpart, of which the artist is very conscious and works with it to achieve a fruitful pictorial synthesis. The pantheistic relation of certain oriental doctrines with nature, relationship of harmony and veneration, is present in this mural painting and enhances, finally, the role of the university campus where it is located.
Julieta Ortiz |
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1992. First Biennial. Monterrey Museum. Nuevo León, Mexico.
· Collective exhibition Mexican Painters. House of the Culture. Exterior Service of Mexico. El Salvador.
· Collective exhibition Presence of Mexican Art. Museum Casa Águila y Parra. Santillana del Mar, Spain. |
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ciclo pictórico
DESTELLOS EN EL AIRE
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| 1992 |
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Lotos, 1992 |
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Los claveles del camino, 1992 |
Orquideas, 1992 |
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Destellos en el aire
Diminutos y frágiles
detonan en el aire
como verdades infinitas
fugaces destellos de sol
insaciables de luz.
Lucille Wong |
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1993. Solo exhibition To time... and in it. National Institute of Nutrition Salvador Zubirán. Mexico, D.F.
· Collective exhibition Cultural Exchange México-Canada. Maison des Arts. Ville de Laval, Quebec, Canada. |
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painting cycle 1992–1996
FLOWERS FOR RED TABLECLOTHS |
1993 |
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La madurez de las rosas, 1993 |
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Rosas rosas, 1992 |
Flores de luz, 1993 |
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Flores a la sombra, 1996 |
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Florero verde, 1994 |
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One of the greatest virtues in her painting is its ability of projection, her force of expression that comes straight to the Spirit, to the heart of the one who contemplates all these evidence of her immense interior life, of an immeasurable force to communicate this world of force and of beauty, the world of Lucille Wong.
Ilse Heckel |
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1994. The company Opus One Publishers of New York incorporates seven pieces by Lucille Wong to the contemporary Masters collection.
· Solo exhibition Mayan Princes. Gallery Djuugran Gomilia. Stockholm, Sweden.
· Collective exhibition Presence of Mexican Art. Maisón de Amérique Latin. Monaco.
· Collective exhibition Presence of Mexican Art in Santander. University of Cantabria. Santander, Spain.
· Collective exhibition Presence of Mexican Art. Maisón de Amérique Latin. Monaco. |
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| 1994 |
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El Chico. La casa del bosque, 1994 |
Coyuya, 1994 |
El príncipe azabache, 1994 |
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drawings cycle
BALLET |
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Adagio en azul, 1994 |
Pas de deux, 1994 |
Organza rosa en espacio azul, 1994 |
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Blanc et noir, 1994 |
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1995. Collective exhibition Art in autumn. Gallery Campus Acatlán, UNAM. Mexico.
· Collective exhibition World Council of Visual Artists. Domus Pacis. Assisi, Italy. |
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1995 |
Querubin,
1995 |
Pegaso al encuentro de un caballito,
1995 |
Caracolas sueltas,
1995 |
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painting cycle
XOCHIMILCO II |
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1996 |
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El cielo y los ahuejotes, 1996 |
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Tranquilidad, 1996 |
Gran árbol junto al canal, 1996 |
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Ahuejotes invertidos, 1996 |
Ahuejotes en azul, 1996 |
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Lugar de gotas
Una
gota de nube
una
gota de tiempo
y otra gota
de sentimiento
Xochimilco
Lucille Wong
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1997. Techniques and materials with the master Luis Nishizawa.
· Solo exhibition Romances of the wind and the flower. Museum MACAY. Mérida, Yucatán.
· Collective exhibition The colors of thought from border to border - 100 artists. Museum of Contemporary Art, UNAM.
· Collective exhibition Month of Mexican culture in Miami. Florida Museum of Hispanic and American Art. Miami, Florida, USA. |
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painting cycle
TUNING IN BLUE |
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1997 |
Sintonía de agua y azul,
1997 |
Un encantamiento,
1997 |
La paloma,
1997 |
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painting cycle
HORSES, PRINTS |
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Caballo de fina estampa, 1997 |
Caballo en libertad, 1997 |
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1998. Exhibition A drop of feeling ... Xochimilco. Xochimilco Ecological Park. Mexico City.
· Collective exhibition. Eroticism and Bulls. Old College of Christ. Mexico City
· Collective exhibition. Mexican painters of the twentieth century. Mexico City Museum.
· Collective exhibition. The colors of the thought from border to border. Museum of Modern Art of the State of Mexico. Toluca, Mexico, D.F. |
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| 1998 |
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Maceta con flores,
1998 |
Flores blancas,
1998 |
Germen,
1998 |
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1999. Solo exhibition Petal landscapes and revealed gardens. Art gallery of the State of Tlaxcala. Mexico. |
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1999 |
La aurora se llena de rocío,
1999 |
Danza de primavera,
1999 |
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painting cycle
STEEDS THAT THE SOUL RIDES |
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Pareja en noche clara, 1999 |
Potro rosso, 1999 |
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Rompiendo el viento, 1999 |
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De frente al sol, 1999 |
Potro salvaje, 1999 |
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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.
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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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