Vector Composition No. 1
2013
acrylic, enamel and tape in-situ wall drawings
The Miller Theater at Columbia University, New York
acrylic, enamel and tape in-situ wall drawings
The Miller Theater at Columbia University, New York
In Vector Composition No. 1, 2013 the artist transforms the architectural space of the Miller Theater's lobby into his canvas. The artist's deep interest in music is much evidenced in his work and practice. Yet, the Miller Theater project is the first time Vargas-Suarez Universal explores this passion directly, creating a large-scale wall drawing that references musical notation and staff paper through abstract geometrics, in a theatrical space celebrated for its innovative musical programming. The artist has, since childhood, had an abiding interest in music. His grandfather, Miguel Suarez Sanchez, had been a successful jazz musician in Mexico from the 1920s to the 1950s. Vargas-Suarez grew up listening to recordings of his grandfather’s work on 78 RPM records. While Vargas-Suarez played the drums, his brother played the viola and later the guitar. The family had keyboards that in the 1980s led to his interest in electronic and industrial music. The aesthetics associated with this type of music dovetailed with the artist's burgeoning interests in contemporary American and German art of that time.
Music continues to hold a special place for Vargas-Suarez. He has created audio works, at times in collaboration with sound artists (including composer Stephen Barber). These sonic landscapes are based on sampling of various sources and directly related to the subjects of his work, which the artist thinks of as drawings using interruptions in air pressure or sound. Moreover, his very practice is closely linked to his experience of music. He paces his creative efforts to it, working in spurts related to the length of whatever album or live concert recording he chooses to accompany him.
Deborah Cullen
Music continues to hold a special place for Vargas-Suarez. He has created audio works, at times in collaboration with sound artists (including composer Stephen Barber). These sonic landscapes are based on sampling of various sources and directly related to the subjects of his work, which the artist thinks of as drawings using interruptions in air pressure or sound. Moreover, his very practice is closely linked to his experience of music. He paces his creative efforts to it, working in spurts related to the length of whatever album or live concert recording he chooses to accompany him.
Deborah Cullen