“I’m really interested in the way that a lot of this imagery was maybe originally used in more of a religious context,” Zornoza tells me. “I like the idea of there being these mysteries that are untouchable for us, that we can have little glimpses of, that are inspirational or create a little bit of hope, because of this view of there being something outside ourselves. I do have a really specific worldview, and is maybe a little complicated. But I feel like when there is this allusion to these mysteries, it is a hopeful and joyful thing.

“I think that a lot of people — I’m maybe thinking from the standpoint of my mother, for example — who have seen my work might think that it’s really sort of dark, maybe a little nihilistic, negative. I definitely have that aesthetic sense, but ultimately for me I’m not trying to be really nihilistic about it, it’s actually trying to touch on something that’s maybe a little more hopeful.”  

Read Greg Cook’s blog at gregcookland.com/journal.

< prev  1  |  2  | 
  Topics: Museum And Gallery , New York Times, Jerry Falwell, Arts,  More more >
| More

Most Popular
Share this entry with Delicious
  •   A WORLD GONE WRONG  |  August 20, 2014
    The skies always seem threatening in Jennifer Hrabota Lesser’s paintings.
  •   OUTWARD AND INWARD  |  August 06, 2014
    A couple years or so back, Samuel Denoncour spent a year traveling alone across these United States.
  •   BEAUTY AND RUIN  |  July 30, 2014
    You’ve surely seen Providence painter Agustín Patiño’s work.
  •   EVOLVING PERSPECTIVES  |  July 23, 2014
    Somewhere around the 1950s, Florence Leif drastically changed her style.
  •   DOODLES, LIGHTS, AND DREAMS  |  July 16, 2014
    Gibson Prouty has found a muse — classic yellow pencils with pink erasers on the end.

 See all articles by: GREG COOK