Jazzamoart

Irapuato, Guanajuato, 1951 -



About


Francisco Javier Vázquez Estupiñán started to call himself Jazzamoart when he was 20 years old, he began collecting jazz records and painting artworks inspired in jazz. Jazzamoart is a fusion of the words “jazz,” “amo” (I love) and “art.”

His work is intimately related to music, men’s passions and the every way of life. His main inspiration is jazz music, jazz musicians and their lives, with about eighty percent of his work related to this. Other inspirations for his art include his family, bullfighting, cabaret and soccer.

His painting often is a visualization of music with colors and forms substituting tones and rhythm. For him, painting is performance. He paints music with his hand and brush, mimicking the music and considering the music essential to his art. "I try to capture in paint the sounds and images of the music and the personalities of the musicians," he says.

His approach to painting is rapid and gestural. Most of his jazz paintings have a jazzed, nervous quality, with figures and images look uncontrolled. Other works are calmer, such as some of his nightclub scenes.

In 1994, he dedicated much of his art to bullfighting scenes and in 2002 he worked on a series based on soccer. In 2010 he held an exhibition called “Passion for Paintings and Soccer”, which included painted balls along with more traditional works.

 

 

Jazzamoart, The New Figuration, by Guillermo Samperio


Jazzamoart belongs to the movement so called new figuration, which included the artists who returned to Figurativism after the overwhelming deployment of abstract painting. Nowadays, the original Figurativism of the middle XX Century, with Pollock on the peak and the crowning of painting art, seems to be a distant story. In Mexico, abstraction was one of the styles used by the generation of the Rupture. Throughout the 60’s and 70’s there was a radical extreme of artistic modernity which was judged, categorically, by most of the audience, as “I don’t understand a thing”. Back then, painting came to a point of fracture with the past; construction of an illusion of reality was demolished by the position of concentrating painting on itself. Every abstract painting was transformed into a critic of pure painting, with philosophical foundations on the critique of pure reason.

New Figurativism retuned to this concept of art, without using previous techniques. Artists do not pursue the illusion of reality anymore, they abandoned modeling with chiaroscuro, chromatic imitation and construction of space from a measured and rational perspective. They do use expressive resources of abstract art. Based on this we may find in Jazzamoart from De Kooning’s strong strokes to Pollock’s dripped painting.

Figuration is a movement of the 50’s and 60’s but, at the same time, it is contemporary, since our time implies accumulation of the movements of the past, without a continuity solution towards new styles. Jazzamoart’s painting is new, as it is an update of shape drawn by the means and findings of abstraction. Pure painting is polluted with reality, but still preserve its absolute freedom, combined with that which is visible in our daily world, through abstract techniques. Musicians are on the scene -this is one of the recurring motives of the artist-, their muscles move with the vigor of thrown, burst, messed up painting; bodies arise from a spontaneous calligraphic fabric: the artist’s passion for music is coherent with construction of painting blows.

Rhythm is, in itself, an abstract element present in various arts; a strong and aggressive element: the line goes up and down, the stroke breaks rapidly again and again. As a counterpoint, anarchical drips fall and break the melodic lines in a controlled accident, instruments vibrate and sound becomes a color explosion, vibration transforms outlines, rhythm crashes along its wave, goes on, creating spontaneous order and chaos subject to logic.

Jazzamoart’s painting makes visible the rhythmic effect of music: bodies explode in dance. Transcription of invisible phenomena on a pictorial surface is achieved thanks to means inherited from abstraction. Metaphysics of painting explored the effects created in the painting by pure painting and it may even be understood as a deep theoretical exercise applied to creation of models which explain the reality of its functioning, not its appearance. Jazzamoart’s painting is a color explosion skillfully controlled to summon shape to appear. (Source: Guillermo Samperio, Ruidos y silencios, Connexion ITAM, Mexico City, January, 2007)

 

Jazzamoart Music and Painting, by Jorge Alberto Manrique


The relation between different arts and especially the relationship between music and painting is an old, very old story in the history of art, and it is a story that is every so often renewed. Not all painting is close to music, but perhaps only the one whose most obvious coincidences have to do with sensuality and lyricism.

When Javier Vazquez changed his name to Jazzamoart, he was taking sides, that of the importance of music for him; not only that one, but also that of the conviction that between visual arts and music there are affinities, correspondence, fraternities. He is still convinced of it. The act of making music -especially, in his case, the act of making jazz- is mirrored with the act of painting; it is the same drive resolved with different media.

Jazz has a lyrical quality and is marked by the freedom of invention. But it moves within certain rules, models that can be combined in many ways but that are always present. Jazzamoart’s painting, and even sculptures, move in a wide gateway to possibilities; gesture is his way of being. And yet, that open and gestural work adheres to, as though not wanting to, rules that define a space of freedom. The gesture sticks to certain rhythms that reappear constantly in his work.

The jolts of the musical rhythm are also the jolts of his pen, his brush or his drips on paper, canvases or sculptures made of wood pieces. There is a sense of nervous immediacy -also found in jazz- that takes hold of the artist and his work: the action needs to remain “hot” or it risks losing its abilities to thrill and communicate.

The reflection can occur before or after, not at the time of execution, because it would introduce an element of paralyzing coldness.

Jazzamoart’s characters, undefined figures, almost gestural ideograms, are found alone or linked to others, in three-dimensional spaces or on neutral backgrounds. Though at times little more than scribbles, one can feel the character and its action, almost symbols that guide the viewer towards a vaguely recognizable but undefined land. He has very much worked in three dimensions lately. His wood sculptures and grotesque masks, even his monumental pieces, maintain with determination the beloved characteristics of the artist. They are very simple wood frameworks assembled intentionally in a bad way and covered with the same nervous brushstrokes and the same drippings that exist in his paintings. Even in something like sculpture, from which one expects respite and solidness, Jazzamoart makes sure he maintains freedom and spontaneity.

Music-loving painter, musician painter, showman, Jazzamoart often uses music themes for his works: performers alone or in groups; performers with spectators; performers in unusual situations. Titles of his series or exhibitions also reflect that same fixation. Ruido visual (Visual Noise) -explicit title if ever there was one- Antros salvajes free-jazzeros (Wild Free Jazz Clubs), Pitos, máscaras y escaleras (Whistles, Masks and Stairs), or he makes up characters or situations like Beboperas (Beboperas). Not only does he represent -or more precisely, “present”- but rather, he enters the show, making up set designs and intervening in what happens on stage. (Source: Jorge Alberto Manrique, The Inventor of Sounds, ITESM, Mexico City, August of 1993)

 

Main Solo Exhibitions

 

2016 Las pasiones de La Pintura, Salón de la Plástica Mexicana, INBA, Mexico City

2016 Improntas, Museo Metropolitano de Monterrey, Monterrey

2016 El antro de las mil ventanas, Museo de la Ciudad de México, Mexico City

2016 El Bop de la Pintura, Palacio de las Artes y la Comunicación y SITEUR, Fundación Tónica, Jalisco

2016 La Mancha del Quijote, Museo Iconográfico del Quijote, Guanajuato

2016 Sólo a fuerza de pintar, Museo del Ex Templo de San Agustín y Galería Irma Valerio, Zacatecas

2016 Jazzamoart, Ilana Gallery, Princeton, New Jersey

2015 Improntas, Museo Dolores Olmedo, México City

2015 Diálogos sincopados, Consulado de México en San Francisco, California

2015 Los sueños del pintor, Galería Oscar Román, Mexico City

2015 Travesía de La Pintura, Kons Gallery, Madrid, Spain

2015 Sólo a fuerza de pintar, Museo del Pueblo, Guanajuato

2015 La vida es un saxofón, Museo Casa Grande Universidad Autónoma del Estado de Hidalgo, Hidalgo

2014 Antro Zoo, Galería Urbana, Mexico City

2014 Trío La Pintura, Instituto Tecnológico Autónomo de México, Mexico City

2014 La vuelta al balón en 80 mundos II, Salón dés Aztecas, Mexico City

2014 A tres manos, Galería Oscar Román, Mexico City

2014 El señor de Las Pinturas, Centro Cultural Tabasco, Mexico City

2013 Torear pintando, Galería Star, Madrid, Spain

2013 Pasiones e invenciones, Senado de la República, Mexico City

2013 Sintonía Visual, Obras de las colección de la SHCP, ITESM, Campus Mexico State

2013 Grand opening, Tamayo Art Gallery, Los Angeles, California

2013 Las Ciencias del Arte, Instituto Nacional de Ciencias Penal, Mexico City

2013 En el camino de La Pintura, Galería Ramón Alva de la Canal, Universidad Veracruzana, Xalapa, Veracruz

2013 Las nalgas de La Pintura, Salón Dés Aztecas, Mexico City

2013 Entre Toros, Charros y Rembrandt, Galería Oscar Roman, Ciudad de Mexico

2012 La vida de la pintura, Museo MACAY, Mérida, Yucatan

2012 Visiones y variaciones, Galería Star, Madrid, Spain

2012 Cuadros robados del museo, Galería Oscar Román, Mexico City

2012 Todo se escucha en La Pintura, Galería Urbana, Mexico City

2012 Obra reciente, Maestro Awards by Latino Leaders, Hotel Hyyat Regency, Dallas Texas

2011 Retrato de La Pintura, Museo José Luis Cuevas, Mexico City

2011 Cuarteto La Pintura, Jazz Tamp Fest, Galería del Centro Cultural Tamaulipas, Ciudad Victoria

2011 El Saxofón Jazz Tamp Fest, Galería del Parque Cultural, Reynosa, Tamaulipas

2011 Nueve obras para un concierto, Festival de Jazz de Primavera, Fundación Sebastian, Mexico City

2011 El Saxofón y Cuarteto La Pintura, Festival Internacional Tamaulipas, Museo Reyes Meza, Centro Cultural Nuevo Laredo, Nuevo Laredo

2010 La noche de Rembrandt, Galería Oscar Román, Mexico city

2010 Antro Calavera, Museo de la Secretaría de Hacienda y Crédito Público, Antiguo Palacio del Arzobispado, Mexico City

2010 Cuarteto la Pintura, Museo Casa Diego Rivera Guanajuato, Guanajuato, México

2010 Todos somos héroes, Muestra Itinerante. Cámara de Diputados, H. Congreso de la Unión, San Lázaro, Vestíbulo Principal, ciudad de México. Fundación Sebastián, ciudad de México, Galería Alberto Manrique, Celaya, Gto. y Museo de la Ciudad de Irapuato, Gto.

2009 Viejos y nuevos sueños del Bajío, Casa de la Cultura de Irapuato, Galería de Arte Contemporáneo Jazzamoart, Irapuato Guanajuato, México

2008 North Sea Jazz Festival Festival Internacional de Jazz, Rotterdam, Holanda

2008 Mar de saxos, Espacio Cultural Metropolitano, Tampico Tamaulipas

2008 Claroscuro, Fundación Sebastián, Mexico City

2007 Una noche de jazz y arte, Henaine Gallery, Manhantan, New York

2007 Las leyes del Saxofón, Escuela Libre de Derecho, Mexico City

2007 Ruidos y silencios, Instituto Tecnológico Autónomo de México, Mexico City

2007 Expo Futbol Show La Experiencia, Centro Banamex, Mexico City

2007 Fantasía Taurina, Galería Chumacero, Mexico City

2006 Ángeles, invenciones y cuartetos, Instituto Tecnológico Autónomo de México, 60 aniversario del ITAM, Mexico City

2006 Bebopera corazón de fresa, Tecnológico de Monterrey Campus Irapuato, Irapuato, Guanajuato

2006 Beboperas y balones, Fundación Sebastián, A.C., Mexico City

2006 Viejos y nuevos sueños del Bajío, Museo de la Ciudad, Irapuato, Guanajuato, México

2006 La marcha de los saxos, Salón de la Plástica Mexicana, Mexico City

2005 El Bop de San Javier, Museo del Pueblo, Festival Internacional Cervantino Guanajuato, México

2005 Todos los saxos, De Zeta Art Gallery, Houston, Texas

2005 La Filosofía del Saxofón, Tour de la Bourse, Festivalísimo, Festival Cultural Ibero – Latinoamericano de Montreal, Montreal, Québec, Canadá

2004 Antro de Ruidos Mexicanos Galería del Centro de Difusión Cultural de Bellas Artes, San Luis Potosí

2004 El Bop de San Javier, Museo de Arte Abstracto Manuel Felguerez, Zacatecas

2004 Invenciones, ruidos y silencios, Festival Internacional de Jazz de Montreal, Espacio México, Montreal, Québec. Canadá

2003 Invenciones, ruidos y silencios, Instituto de México, Washington D.C.

2003 El Bop de Cuévano, Fundación Sebastián A.C.,Mexico City

2003 Invenciones, ruidos y silencios, Instituto de Cultura de México, San Antonio, Texas

2002 Trío cartonero del Bajío, XXX Festival Internacional Cervantino, Museo Regional Alhóndiga de Granaditas, Guanajuato

2002 De tríos y beboperas, Galería Pecanins, Mexico City

2002 La vuelta al balón en 80 mundos, Galería Lourdes Chumacero, Mexico City

2001 Saxo, signo y garabato, Museo José Luis Cuevas, Mexico City

2001 Las alas del deseo, Galería del Aeropuerto Internacional de la ciudad de México, México

2001 Música y pintura, Casa de la Cultura de Celaya, Guanajuato, México

2000 Cuentos de la ciudad de ruido MACAY, Mérida, Yucatán, México.

2000 Viejos y nuevos ruidos, Galería Independiente Marie-Louise Ferrari, Xalapa, Veracruz

1999 Ruidos y aventuras de fin de milenio, Galería del Sur, uam Xochimilco, Mexico City

1999 Retrospectiva Universidad La Salle, Mexico City

1999 Orquestas, Museo Casa Diego Rivera, Guanajuato

1998 Sueño de una tarde dominical, ITESM, Campus Estado de México

1998 Descanse no más ii Galerie Kyra Maralt, Berlin, Germany

1997 Memorias, pasiones e invenciones Casa de la Cultura de Irapuato, Guanajuato

1997 Alrededor de la media noche, Galería Kin, Mexico City

1997 El bop de Baco, Galería Pecanins, Mexico City

1996 Jazzamoart en el Museo de El Carmen, Museo de El Carmen, Mexico City

1996 Tres lustros de jazz, amor y arte, Museo del Pueblo, Guanajuato

1996 Sueño de una tarde dominical, Museo Mural Diego Rivera, Mexico City

1993 El inventor de ruidos, ITESM, Campus Estado de Mexico

1992 Jazzamoart, Galería Drexel, Garza García, Nuevo León, Mexico

1991 Pitos, máscaras y escaleras, Galería Grupo Arte Contemporáneo, Mexico City

1990 Antro de ruido y coro de beboperas, Museo Nacional de la Estampa, Mexico City

1990 La necedad del pintor, Museo de Arte Moderno, Mexico City

1989 Anécdotas, fetiches y otras brochas, Galería Gabriela Orozco, Mexico City

1987 Jolgoriorgía, Museo de Arte Carrillo Gil, Mexico City

1986 Antros salvajes freejazzeros, Galería I de la Escuela Nacional de Artes Plásticas, uam, Xochimilco, Mexico City

1986 Variaciones sobre un mismo ruido, Teatro Juárez, Guanajuato, Guanajuato; Casa de la Cultura, Irapuato, Guanajuato y Teatro Manuel Doblado, León, Guanajuato, México

1985 Viejos y nuevos sueños, Museo Universitario del Chopo, Mexico City

1983 Las beboperas, Galería Metropolitana, uam, Mexico City