June 2, 2012
Welcome! This blog is dedicated to my art experiences by way of the art making process, visits, exhibitions, and travel.
August 19, 2016
“Hell is empty all the devils are here.” –William Shakespeare.
My images are inspired by mythologies and personal stories. The people in the paintings are part of me in some way. I paint people of color in order to represent diversity in Los Angeles and contemporary painting. This particular body of work is influenced by fear of racial/social, political dystopia. It’s hard not to be affected by today’s political climate when the omnipresence of social media allows you to experience things in real time. Inhumanity that exists in our world has never been more visible or downloadable. The landscape is dark, skies are churning, and the Devil is blown in. Though the images are mythologized they don’t seem so far from what can actually be.
New Exhibition Opens September 10, 2016: Avenue 50 Studio Gallery
December 30, 2015
I have been away from my blog spot throughout 2015 but it has not been in vain. A life in the arts has kept this man busy.
In 2014, I officially became a professor of Art after 10 years of being a part-time instructor.
I have an new website: which can be accessed from the original site. (click on the decal that says “Check out latest work) The new site showcases recent works, bio and resume.
I will be having a Solo Exhibition of new work at Avenue 50 Studio in fall of 2016. This will be my third exhibition with Avenue 50 Studio, second Solo show. (To view the work from 2014 exhibitions, click on link below.)
October 1, 2014
AVE 50 STUDIOS PRESENTS:
Cajitas y Recuerdos: Cigar Box Shrines (Little Boxes and Memories) will commemorate the long-held tradition of the Day of the Dead through a show devoted entirely to cigar-box shrines. Our theme is purposely broad; the work from our artists explore pertinent social, political, personal and/or spiritual concepts through a cigar-box shrine.
Opening Night Reception: Saturday, October 11, 2014 from 7-10 pm
October 11 through November 2, 2014
“Dia de los Muertos” is traditionally a day in which friends and family in México, Central America, and the diaspora celebrate the memories of loved ones who have passed. Altars and shrines have been a primary vehicle for the celebration of this long-held tradition. As part of our annual Dia de los Muertos exhibit, Avenue 50 Studio has purposely invited artists from different national, regional, and ethnic backgrounds and various aesthetic approaches, to communicate what is important to their world as they see it.
Alfonso Aceves • Steven Amado • Ron Baca • Tanya L Bernard • Adriana Carranza • Jose Chavez • Aaron Donovan • Ofelia Esparza • Ricardo Flores • Emilia Garcia • Cidne Hart • Sergio Teran • Sonia Hernandez • Tory Lin • Alvaro D. Marquez • Ofelia Marquez • Victoria Plata • Ricardo Reyes • Margaret Sosa • John Tallacksen • Angel Villanueva
Avenue 50 Studio | 131 N. Avenue 50 Highland Park 90042
September 21, 2014
I was lucky enough to have been asked to be a part of this year’s (2014) Latino Heritage Month Calendar and Cultural Guide. Here is the link to PDF.
August 12, 2014
A 3 year video and audio journal of my immediate influences as seen and heard through studio-work, travel, museum-visits and the ever moving Los Angeles landscape, all leading up to a 2014 exhibition. As an artist I think I am constantly absorbing and studying through sight. This recent self examination through video has allowed me to notice how sound plays a unique role in my everyday and influences what I am seeing.
November 27, 2013
I learned to do my Ollies in the parking lot of Crystal’s Coffee Shop, across from where I lived on 19th street.
For those of you who don’t know what an Ollie is…. essentially, it’s a jump or hop while you’re moving on the skateboard. In the mid 80’s the Ollie marked a transitional period from a generation of pool and ramp skaters to a new breed of street-only skating kids. I was one of those kids.
And though the landscape of street skateboarding has changed,”the Ollie” remains in focus. In fact, it is the basis for a lot of skateboarding flip tricks today. Every street skating kid in the last 25 yrs has had to learn it.
For me? learning to Ollie was important. It was important because my terrain was the street. In order to have more freedom, I needed to not stop. When skating through the city, I had to have a continuous forward motion without breaks, even for red lights (especially for red lights). I’d just jump a curb or a grass patch when necessary to keep moving. Like improvisational jazz; blowing dashing, jumping, sliding.
Charlie was the first cat I saw do an Ollie, and I’d never seen it done before. Smooth and fluid, almost without sound, like a cat.
And that’s how I wanted to do them……………….smooth and easy. — But “easy!”…. they were not. It took some work.
By this time (’85-’86) I could do foot-plants and 360 slides as well as some other minor stuff. The Ollie was the next logical thing. I needed to learn it.
Charlie ran me through the basics.
CHARLIE: …Keep all your weight on your toes. You’re gonna do a back foot snap, front foot tap…tapping the tail of your skateboard hard enough so that it bounces off the concrete, and the front of the board rises up…….flowing from back momentum to front momentum, like this__. I’ll use my left hand and right foot so you can see it happen stationary….
And then, he would do it.
I am not a direct learner. Most often, I need to do things wrong first, so I can begin to understand and work towards the correct way (whatever that means). So, before I actually learned this trick, I came up with a few tricks of my own…. along the way.
The Die! Skateboard Die!
The infamous, Nut-Shot.
and “Fathers Name In Vain!” (also known as the Pete Townshend)
I would have liked to show you how easy and naturally I learned to do this trick, accompanied by an image of me Ollying over five cheering neighborhood friends. But that’s just not how it happened. Although I eventually did learn how to Ollie . For me, skateboarding has always been about lessons in living: the journey, struggle and failure, followed by an an anti-climactic reward.
My technique did get better and my Ollies got higher, and indeed it was a flow, like jazz on wheels.
Text and original block-print Images © by Sergio Teran
October 21, 2013
I had the opportunity to work on a Poster for the Day of the Dead Celebration in Pasadena this Fall, in association with Blue Milagro and the City of Pasadena. I was contacted in August and got started sketching right away.
Here are some concept drawings I proposed early on.
Some still -life options.
I made about, seven different rough sugar skull designs one of which was chosen for the final poster.
Here is a woodcut concept that again was too heavy for kids but nonetheless a good exhibition piece for me.
- These are drawings I do directly on the block. Images were inspired by this event.
These will be on view @ Pasadena Playhouse Oct 25th 2013
July 29, 2013
I began printmaking at NYU during grad school but took it on as a serious activity in the basement of New York Central Art Supply (where I worked as a sales clerk for a little over 3 yrs in the early 2000’s). For the last several years I have been devoting my summers to printmaking and making work on paper. I try to take a class at a studio so I can do the more complicated techniques. Here are some pieces from summer 2013.
I started the summer with this little collage and painting done on a cigar box-top. I had some specialty papers i wanted to try out, and it resulted in this little composition.
This is a 20″x 30″ multiple technique print utilizing woodcut (figure) and silkscreen (background).
Here is Linoleum print in red, this is from a series of tarot card images I’m working with. This would be the Key Card in the book of tarot a la wrestling.
I have a great archive of family photos I have been re-organizing as well as referencing for artwork. Many are images of relatives during the 1950’s through the 80’s. My mother, in her 70’s now, has never been good at remembering, let alone, explaining the family lineage, so I usually look to our photo archive. It has helped me to understand who we are. This piece is from a recent series of masked portraits taken from vintage family photos.
Here is another reduction blockprint made with 3 color layers, red, yellow and violet-brown. The edition of prints was run through the press once for every layer of color seen on the print.
The process of making prints at times, requires special facilities that can house and safely manage the use and recycling of acids, solvents, or emulsions. Even more important with printmaking, is having access to a press. This print requires all of that, just to make one delicate little piece. The result: velvety, black, ink on paper, is always worth the trouble.
Some printmaking processes can be very immediate. Here is a woodcut made and printed in my kitchen/studio at home.
July 26, 2013
Here is the complete essay that inspired Rolling City Vol.9
The Yellow Church
My association to churches is a positive one, mostly because I didn’t actually attend as a child. My family was not the church-going type like regular folks. My mother taught us about God and how to pray at home. All my friends who were forced to attend church and catechism on Sundays and Thursdays envied my Catholic home school set-up. Personally, I didn’t understand why. Not going to church made me feel a bit different and lonely when the neighborhood was at mass. But though I didn’t attend, I did frequent a church.
Down the block from where I lived there was a yellow church connected to our residential neighborhood. In the 80’s the building changed ownership and had gone through some renovations, so it was rarely occupied. I’m not sure if it had been a Christian church, but the structure showed that it might have been in the past. The architectural details of the church were round and smooth, arched windows with stained glass and white trim. The front of the church was south facing with a large grassy area, to the west (side of the church). The lawn was always trimmed and green. It was a great place to relax or catch a summer snooze behind the church marquee. There was even an available water faucet when thirsty. But the best feature this castle of God, had to offer were the steps and paved walkways. The front of the church had cascading steps with a U shaped walkway, which led to the entrance of building. One could skate from the doorway all the way down to the sidewalk in a single, smooth push. The challenge, or the fun, was doing this while having to Ollie two sets of stairs, before hitting sidewalk. Two or three strong pushes and you could catch enough speed to end up in the street.
These were times before skate parks. The yellow church was available, skate-able, and safe. Almost as if God said, “Yes, its o.k. to skate here.” And I did.
On those quiet days when families were sitting at pews and participating in mass, church was truly a sanctuary for me.
Text and original block-print Images © by Sergio Teran
June 16, 2013
My association to churches is a positive one, mostly cause I didn’t actually attend as a child. My family was not the church going type like regular folks. My mother taught us about God and how to pray at home. All my friends who were forced to attend church and catechism on Sundays and Thursdays envied my Catholic “home school” set-up. Personally I didn’t understand why. Not going to church made me feel a bit different and lonely when the neighborhood was at mass.
At school a rumor started that I was crazy because I had followed Augustine home and attacked his Dad with a rock. I had my moments of madness but crazy I was not.
It was truly lonely when the neighborhood was at mass.
Text and original block-print Images © by Sergio Teran
Rolling City Vol 6.5