Work and Progress

July 4, 2017

Poster Concepts from Chicano Steel

Filed under: 2.The Studio Experience, 3.Events and Visits — Work and Progress @ 7:06 pm

Chicano Steel was a controversial yet successful fundraiser that was put on in October of 2016 in Highland Park, by a group of public practice and studio artists from the Los Angeles area on behalf of the Avenue 50 Studio. The event was influenced by “Monster Drawing Rally” started by the S.F. based, Southern Exposure.

The name Chicano Steel was decided based on the idea that there is strength in the community that comes through Avenue 50 Studio and we wanted our own people, locals to be apart of the monster-drawing event.

The name became controversial as some artist and patrons felt as though it may bring negative connotation to the community. Frankly, I found that to be the fuckin point. When does popular thought not make the Latino community controversial? Despite the brief debate we pushed forward with the name.

From there, I began to rough out some sketches and paintings to find the right image for the event. The following are some of the rejected, concepts for Chicano Steel, as well as the final image.

The fundraiser met it’s financial goal for the event as well as got coverage from some notable media sites.The image was posted and shared that season by media platforms such as KCRW’s 5 things to do, such as”, Artillery Magazine and the L.A. Weekly, to name a few.



Final Image used to promote show. We wanted an image that folks would stop to look at and connect with the event.


Chicano Steel reduction-block idea using Loteria card icons. Lino reduction on paper 2016. The reduction block didn’t really work but I had to start somewhere.



Frida at Ave 50 Studio, Acrylic on Panel, 2016.  This idea started out as the Mona Lisa holding, purchased-art from Avenue 50 studio.. but that resulted in a debate about colonization and gentrification, so I turned her into Frida Kahlo. but still….it got scrapped.


Chicano Steel Event Video by Genessis Martinez




Some of the crew 2016.




August 19, 2016

The Devil and Tomás Benditos: New Works on view @ Ave 50 Studio

Filed under: 2.The Studio Experience — Work and Progress @ 9:45 pm

“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

Devil and Tomas small

“Hell is empty all the devils are here.” Oil and xix media on panel, 2016


December 30, 2015


Filed under: 2.The Studio Experience — Work and Progress @ 1:51 am

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.)

BBQ and Icon

      BBQ and Icon, oil on panel 2015 Private Collection

Ave50 Studio: Algunaparte: 2 Person Exhibition by Phung X Huynh /Sergio Teran 2014

Ave50 Studio: Otra Taza De Cafe: Day of the Dead Prints by Sergio Teran

October 1, 2014

Cajitas y Recuerdos: Cigar-Box Shrines Exhibition at Ave 50 Oct. 11th 2014

Filed under: 2.The Studio Experience, 5. Exhibitions 2010 — Work and Progress @ 7:21 am

Wrestler Shrine AVE50



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.

Participating Artist:

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

2014 Latino Heritage Month Calendar and Cultural Guide

Filed under: 2.The Studio Experience — Work and Progress @ 2:08 am

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

Sound Space Rolling City: A Video/Audio Journal

Filed under: 2.The Studio Experience — Work and Progress @ 1:52 am

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.

October 21, 2013

Concepts for Day of the Dead Project 2013

Filed under: 2.The Studio Experience — Work and Progress @ 4:37 pm

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.

 OLYMPUS DIGITAL CAMERAI really wanted to develop this for the poster. I was thinking of Fritz Lang and German expressionism. But it was too creepy for kids I think.
 OLYMPUS DIGITAL CAMERAThis a refined version of the skull that was chosen on the poster.
OLYMPUS DIGITAL CAMERA“Calaca Song” is the concept I developed from several rough sketches and was intended to be the final image to be on poster but was later switched out. I really dig this image and it was inspired by songstress Lila Downs.
Quick rough.

Some still -life options.

Skull Sketches
Quick ruffs.

I  made about, seven different rough sugar skull designs one of which was chosen for the final poster.

Wrestler peel back

Here is a woodcut concept that again was too heavy for kids but nonetheless a good exhibition piece for me.

Blocks Inspired
These are drawings I do directly on the block. Images were inspired by this event.
The framed prints .

These will be on view @ Pasadena Playhouse Oct 25th 2013

Final poster design in Kiosk at Laemles Theatre in Pasdena Ca.
All images © by Sergio Teran 2013

July 29, 2013

Masked Portriats, Prints and works on paper Folio Summer 2013

Filed under: 2.The Studio Experience — Work and Progress @ 5:32 pm

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.


Doppelganger, collage and painting 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.


One arm Wrestler, printmaking 2013

This is a 20″x 30″ multiple technique print utilizing woodcut (figure) and silkscreen (background).

On the pressjpgHere is the woodcut layer on the press. Made  at the ArtCenter College of Design.


La LLave, Linoleum print 2013

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.


Two Sisters, Linoleum reduction

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.


“Dos Hermanos” Etching and aquatint on paper. Inspired by a 1970’s image of my two cousins.

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.

Block Ladies2

Wrestler peel back

woodcut test print. summer 2013

Some printmaking processes can be very immediate. Here is a woodcut made and printed in my kitchen/studio at home.

May 24, 2013

Patron Saint of 80′ Skateboarding oil mix media on paper and hardboard panel.

Filed under: 2.The Studio Experience — Work and Progress @ 6:08 pm

In my psyche, skateboarding in the 1980’s use to be a completely different landscape than what it is today.  Skate parks for street skating didn’t exist and it wasn’t as safe as it is now. In those times, skateboarders had to be creative with both landscape and neighborhood. That is,  you avoided the hood while looking for skate-able land. Although a similarity from then to now is how segregated L.A. is. Often a skateboarder was a reflection of the environment he/she most frequented.  There were types of skateboarders based on the environment they had access too. There were the wall riders, pseudo-bank, skaters… staircase- jumpers, straight grinders,  DMV-curb, sycophants (also known as slappers).  Today skate parks artificially feature those urban conditions we sought out as kids. Skating from neighborhood to neighborhood in hopes of discovery. Not sure what it all means (never am) but this portrait is the keeper of those conditions.


 This began as a portrait of my son on a 5″x 6″ piece of gesso paper that morphed into a 12″ x 35″  arch panel. made w/ oil and mix media. Half the skateboard, the black T-shirt and head are the piece of paper I glued onto a hardboard panel.


May 8, 2013

Studio Struggle, Easel Self Portrait, 2013

Filed under: 2.The Studio Experience — Work and Progress @ 6:34 pm

Easel portrait Studio Struggle, Mix media on masonite, 2013

Studio Struggle….

This is a mixed media portrait made from 4 different sections of wood-panels glued together.  My most recent work involves construction and painting. To those who have not experienced my work in person, I describe the look as very physical, almost architectural.

At one time, I desired to paint realistically, but I quickly realized I was only addressing issues of technique. This was a problem because I also wanted to talk with my painting or communicate ideas with the work.

Painting for me is a constant self examination. I experiment with convention as well as non-conventional approaches  (more so these days). As a  student I closely studied traditional approaches. Today I have done things in my painting that would make Rembrandt and Giotto puke.  Painting has been a life of constant striving and pushing in my work, experimenting, failing, re-working, and adjusting.

Today I find that painting is more of a discovery,  A religious, habitual activity that causes you to react so that you can find yourself through it. Every now and then there are little moments when I do find myself in the work, but after 18 years I am still learning. This makes me want to continue.

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