Juan. D. Estrada

"Galactic Man" 2007 Mixed Media on Canvas 48X34 inches. Juan D. Estrada  As a child growing up in the 1970s, I was captivated by the pervasive notion of a futuristic space-age world awaiting us by the turn of the millennium. Films depicting flying cars and bustling colonies on distant planets adorned theater screens and late-night television alike. However, as I matured, it became evident that technological advancement was rapidly outpacing our visions. The transition from pagers to handheld cellular devices was swift, while computers evolved from cumbersome behemoths to sleek wristwatch-sized marvels. Despite these leaps, urban landscapes remained largely unchanged, overshadowed by persistent cultural and political challenges. I observed a disheartening trend: as information became more accessible, the collective drive for innovation seemed to wane. Once vibrant forms of entertainment like movies and music began to homogenize, losing their distinctiveness and vitality. In th...

 "Luna Y Sol" Diptych Acrylic on Canvas 2024  J, D. Estrada Symbolic painting delves into the intricate interplay between masculine and feminine energies, encapsulating a myriad of contrasting dynamics. The feminine essence is personified by the enigmatic allure of the moon, characterized by intricate cogitation and remarkable powers of rationalization. Meanwhile, the masculine presence radiates akin to the sun, harnessing fiery energy capable of both construction and destruction. Executed through layers of mixed media, employing warm hues of acrylic paints, accentuated by spray-painted highlights, and enriched with expressive gestures using oil sticks, the artwork embodies a captivating exploration of gender symbolism.

  Juan Daniel Estrada  aka John Zender Title: “High Vibrations” Size:  24X24 inches Medium:  Acrylic on Canvas Year: 2023 In the realm of religious institutions, there exists a common thread—a resonance that transcends denominational boundaries. This shared frequency is one of a higher spiritual state, a vibration that permeates the core beliefs of most faiths. The essence of this elevated resonance is palpable in the act of prayer, a universal conduit for connecting with the universe and invoking the influence of a higher power. Through prayer, believers seek intervention and solace, reaching out to a force beyond themselves, a force that is both transcendent and omnipresent. Hope, too, is a potent force in this spiritual symphony. It serves as a beacon for the soul, guiding it beyond the limitations imposed by the tangible world. In the realm of the senses, hope allows the mind to transcend the boundaries of what is immediately perceived and opens the door to the r...

 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...

 

 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...

  Painting in the 1980’s From 1975 to 1981, I was a Chicano gang member from elementary school till 8th grade, so my knowledge of life was seen through this window. In 1981 I moved from South Central LA to Maywood California, where the community had little gang activity and kids were mostley influenced by hip hop and music videos. This would also be where I began to gain an appreciation for hip hop music with the likes of LL Cool J, Run DMC, Whodini, and many more. Break dancing was at its peak, and this was my introduction to Graffiti art, in the form of a visit to a club in the mid-Wilshire District called: RADIOTRON. If you seen the movie, well that was me…I was a B Boy, and to be a B Boy in those days meant you danced, DJ, rapped, and did some Graffiti. I am not going to give the full history of LA Hip Hop, but I am going to explain how the graffiti art form influenced my work. New York had its history on trains (See Documentary Wild Style). In LA we had Yards. Specifically, th...

I have decided to begin to share my life story with the public, this is actually one of the hardest things to do because I tend to be very private when it comes to my past.  For many years Ive been a mentor to many young artists and I always  do my best to give only my positive stories, but to understand my art or to even understand me as an artist both the dark and light side of life must be known.  throughout my series I will always connect my past with my art this is to keep this blog artistic and not just biographical.  I was born in East Los Angeles in 1966 in a small house on 1034 1/2 S. Herbert Street in between Whittier Blvd and the 5 freeway,  My father was an alcoholic for as long as I can remember:  my older brother has more stories about these early years than I do.  I just remember Christmases and special birthdays, I do remember when my mother died, it was a major turning point for my  two sisters and brother. My father had a new w...