NEW YORK, NY.- Ruiz-Healy Art is presenting C閟ar A. Mart韓ez: Mi Gente an exhibition of paintings and drawings of Martinez’s iconic cast of Batos, Pachucos, and Rucas. This is the artist’s second solo exhibition with the gallery.

A major figure in the Chicano Art Movement of the late 1970s and 1980s, Mart韓ez’s portraits are icons of Mexican American art history. Mart韓ez was a teenager during the early 1960s in his hometown, Laredo, Texas where Pachucos (zoot suiters), Batos (dudes), and Rucas (girls) were part of his everyday life.

Mart韓ez is drawn to the way in which Mexican American family photographs served as intimate, personal portraits, during a time when only white individuals or groups were being iconized in paintings. Mart韓ez offsets his melancholic subjects against a vibrant palette of clothes in tension against abstract backgrounds. The individuals in Mart韓ez’s works are merely hybrids derived and elaborated from many different photographs found in high school yearbooks, obituaries, newspapers, and other public sources.

Mart韓ez explains “I’ve never really done art that I would say is political. But I think the kind of art that becomes politicized, as in my case and in many of my contemporaries, is simply because it had a Chicano perspective or Chicano imagery. The Chicano Movement was a renaissance in thinking about us and in creating those institutions and images and writings that reflected who we are. They were non existent at that time, we had nothing to relate to, so we had to make it up as we went along. And that was the road to a deeper understanding of who we are.”

Complementing his iconic cast of Batos, Pachucos, and Rucas paintings, C閟ar A. Mart韓ez: Mi Gente also features a suite of his Serape paintings from 1980 and portrait drawings that have served as a source of inspiration and invention for Mart韓ez’s most recent paintings. Mart韓ez states, “The new paintings reflect the spirit of the drawings more and more and I couldn't be happier because evolution is a good thing, and that has been happening in different ways. The characters in the Bato/Pachuco series have, over the years, acquired more and more particularity, and much more so now with the new drawings.” The Serape paintings started, in the late 1960s, as an ode to the Color Field movement and as a reaction to contemporary art from a cultural standpoint. Mart韓ez comments that upon seeing the work of Gene Davis he reacted: “These are like serapes!” The series was an epiphany of sorts though he did not realize it at the time and inspired the artist to create his own Serape Series.

C閟ar A. Mart韓ez (b. 1944, Laredo, TX) is a contemporary artist who lives and works in San Antonio Texas. His artwork allows him to explore his multicultural identity and provide familiarity to those often not represented in the arts. Mart韓ez’s work has been included in landmark exhibits like Hispanic Art in the United States: Thirty Contemporary Painters & Sculptors; La Frontera/The Border: Art About the Mexican/U.S. Border Experience; and Chicano Art: Resistance and Affirmation 1965-1985. He was honored with a solo exhibition, and accompanying book, at the McNay Art Museum, San Antonio, Texas in 2009. His work has been exhibited and is part of the permanent collection of institutions like the Smithsonian American Art Museum, Washington, DC.; Brooklyn Art Museum, Brooklyn, NY; Museo de Arte Moderno, Mexico City; LACMA, Los Angeles, CA; the Museum of Fine Arts, Houston and the Mexican Fine Arts Center Museum, Chicago, IL. among others.