Juan. D. Estrada

 Triunity : The  Fusion of Body, Soul, and Spirit: A Harmonious Symphony on Canvas I am constantly fascinated by the interconnectedness of the body, soul, and spirit. In my latest series, "Triunity," I sought to capture the essence of this profound fusion. The works portray a face, a vessel that houses the intricate layers of our being, set against an abstract background painted in warm, vibrant hues that symbolize the depth and richness of the human experience. The face, the physical representation of our body, is the composition's focal point. Every brushstroke meticulously applied in paint aims to convey the individuality and uniqueness of the subject. The subtle play of light and shadow reveal the contours and lines that tell stories of strength, vulnerability, and resilience. We interact with the physical world through our bodies, experiencing pleasure, pain, and everything in between. Moving beyond the physical, the abstract background takes center stage, represent

Transcending Boundaries: Spiritual Abstraction 1996-2007 In 1996, spiritual abstraction became a gateway to explore the depths of the human experience, intertwining elements of the divine, scientific inquiry, and the influence of great artists. Inspired by the visionary works of Roberto Matta, Wilfredo Lam, and Fernando de Szyszlo, biblical spirituality, and scientific morphology, I reflected on the harmonious fusion of these diverse influences. Like Roberto Matta, I aimed to delve into the realm of the subconscious, capturing spirituality's ethereal and intangible aspects. Matta's surrealistic style, fluid forms, and dreamlike landscapes, helped guide my brush to create an otherworldly composition transcending reality's confine. Within this transcendent realm, I found space to explore the profound connection between spirituality and art. Wilfredo Lam's influence manifests in my artwork through exploring cultural and symbolic elements. Drawing from his Afro-Cuban roots,

Welcome to the second part of my Art Chronology, where I explore my artistic journey through different styles.  From 2002-2010, I focused on discovering my identity and how spirituality plays a significant role in my life.  From 2010-2017, I delved into the world of Urban Chicano culture and how each person has a unique story. Tattoos serve as open books of those stories, and I represented the fusion of their auras through abstract backgrounds.  From 2017 until now, I have been exploring Triunity, Body, Soul, and Spirit, which express the unknown and the unseen while highlighting how humanity interacts with each other.

  Chicano Art and a Spiritual Quest in Self-Discovery 1992-1995  Juan D. Estrada (John Zender) During the 1990s, I created many murals in ethnically diverse communities, including Asian, African-American, Central American, and others.  Through these experiences, I learned how symbolism can be used to tell a story and how a group can unite behind a shared experience.  It also caused me to question my own identity, as I had previously been more connected to the hip-hop movement.  This led me to study the work of Chicano Artists, who explored their personal experiences with culture, displacement, and family life through bold, brightly-colored images of religion, cars, masks, and ancient relics.  Since 1992, I have incorporated some of these techniques into my work.   I started painting images of myself while gazing at an ancient Aztec mask and questioning my identity with the question, "who am I?".  Despite being born Mexican American, I grew up as a nomad due to the early demis

 

 Prison Art (1988-1991) In 1988 I was given a 5-year sentence in the state of California, I would complete my sentence at the Richard J. Donovan Correctional Facility. This was the first time I had ever been in prison; I had no idea what this experience would be like. I was in my senior year at Otis Art Institute in Los Angeles when this occurred, so my outlook was still mainly focused on art, I had painted a couple of murals in the county jail during my arraignment so maybe I could do the same in prison. Donovan was a new California prison during this time, and everything was grey concrete inside and out, even in the cells so the idea of color was absent. The first couple of months I worked in landscaping and later found out I could take a vocational course. The only art-related course was the UCLA Extension Program which focused on printing and publishing. I was in Level 4 when I arrived at Donavon so to be a part of a college program was perfect. The course consisted of learning how