Anthony Garcia Sr. is as likable as an intimate studio artist as he is as a showy public expressionist. It is a huge leap from “street” art to “fine” art, where things go under the microscope, but he makes it look easy.
Denver, one of the birthplaces of the Chicano movement, has a decades-long history of public murals proclaiming its diversity, and Garcia’s work builds on that and, in some ways, brings it to maturity, at least from a 21st century, contemporary-art perspective where abstraction rules the day.
Only they are smaller that what we expect to see from this particular artist, and contained on canvases rather than splashed over walls, hallways or garage doors. They are lit for optimal viewing rather than left to the good or bad fortune of natural sunlight. Which allows him to reinterpret the reds, oranges, golds and greens of traditional serapes as a series of shades of blue, as he does with the acrylic-on-canvas piece “Whirlpool.” The work looks less like a Mexican poncho and more like an abstract rendering of the ocean, with the blues going from light to dark as they travel down the surface, just as the color of water does as it gets farther from the light.Anthony Garcia Sr., “Pigments,” continues through Aug.
Garcia does venture farther away from the serape for a few pieces, which are placed at the end of the exhibition. These acrylics, mostly in blue and gold and bordering on figurative, aren’t as confident; they feel like concepts in formation rather than fully fleshed-out ideas. But they are good to see in the mix. An artist cannot paint in the same style his whole career and stay fresh, so Garica is showing us where he might evolve next.
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