TIMELINE
painting cycle
STILL LIFE
1980
Maceta, 1980
Estanque de lotos, 1980
Still life,
Rojo oxido
No. 2, 1980
Naturaleza muerta
No. 3, 1980
Florero rojo, 1980
1981. Collective exhibition 8 Mexican artists in the Inter-American Development Bank. Washington D.C. USA.
1980 – 1981
NUDES
Belleza mexicana No. 5, 1980
Cálido mármol, 1981
Desnudo recostado, Firenze, 1981
1981
Seduced by the splendor of the nude she begins under the discreet but sensible conduction of Robin Bond an approach to the human figure to be prolonged 16 years (1978 – 1994), a dazzling facet reflected, in more than a thousand works (I include within that figure some pages of notebooks that treasure findings and predilections), an intense and calm, fierce and reflexive look on the contradictory nature that surrounds the being and the condition of humans.
E. R. Blackaller
In the Wong painting, the relation of the figures with the space demonstrates the pictorial wisdom of the artist. The bodies never suffocate space. Nor does it minimize those. They do not even compete, harmonize, complement each other and minimize those. Thus, the nakedness power to its presence, but without revealing itself completely, protected behind a fog of mystery. And it is already known, without mystery there is no art.
Javier Villarreal Lozano
painting cycle
PORTRAITS
Apolinaire, 1981
La tierra y el universo,
1981
Les yeux, 1981
Samurai, 1982
Autorretrato, 1982
Caballo en sepia, 1981
1982. Solo exhibition. The Gallery, Monterrey, Mexico.
1982
Paraguas contra una tormenta interior, 1982
Luchadores de Sumo No. 11, 1982
Luchadores de Sumo No. 6, 1982
painting cycle
THE FORCE OF SILENCE
Como si quisiera volar, 1982
Maceta, 1982
A fuerza de silencios, 1982
Toro, 1982
Palmas, 1982
Paisaje silente
Solo susurran los carmines de la tarde
se acallan los colores
se aquietan las flores.
Mudo se enreda el viento en hojas y tallos :
A fuerza de silencios
canta la noche.
Lucille Wong
The best artists, for me, are those who paint for the need to express themselves and communicate spiritually; this is the case of Lucille Wong.
Miguel Bueno
painting cycle
EMKU
1983. Biennial of drawing. Palace of Fine Arts. Mexico, D.F.
1983
Emku, 1983
Príncipe Maya, 1983
Chilan,1983
GUILIN, CHINA
Emku, 1983
Guilin, montañas, 1983
The kingdom that breathes strength to the painting, is not the flower neither the gardens nor the forests and landscapes, but the plastic image – esthetics of the look and lightness – the one that clarifies and sustains the flower and its paradises.
E. R. Blackaller
CHINES INK
1984
El abuelo, 1984
Sol y sombra, 1984
Apunte, 1985
Dios del trueno, teatro Kabuki, 1985
painting cycle
FISHES
Pez dorado 1984
Pequeño pez, 1984
Pez rojo y pez dorado, 1984
Dos peces, 1984
1985. Solo exhibition Chinese ink to scratch the light. The Michoacan Culture Institute, Morelia, Mexico
Caballo gris, 1985
1985
painting cycle
BY THE HIGH SCAFFOLDS OF THE FLOWERS
Por los altos andamios de las flores, 1985
Entre espacios azules, 1985
Los secretos de la noche, 1985
Flor de loto, 1985
La hoja verde, 1985
In the body abandoned to its own weight is represented the accumulation of shame, the spite and the powerlessness along monotonous days in rooms and places of disaffection, stays where domestic storms roar that drown the voices, the noises and the uncertain music of the streets.
E . R. Blackaller
1986. Artistic photography, engraving in metal and nude, with the masters Luciano Ricci and Roberto Ciabani. Florence, Italy.
· Collective II International Forum of the stamp in the Conciergierie. Paris, France.
1986 – 1989
NUDES
1986
Mujer apoyada, 1986
Desnudo en verde, 1987
Desnudo en azul, 1987
Forma en el silencio uno, 1987
Mirada azul, 1988
Desamparo, 1988
Contraluz.
Taller de desnudo,
1988
Paris
Homenaje a Tamara de Lempicka,
1988
Violencia No. 2, 1988
Lapizlázuli, 1989
painting cycle
FLOWERS TANGLED IN THE AIR
Flores enredadas en el aire, 1986
Árboles en flor, 1986
Cielo amarillo, 1986
painting cycle
PETALS LANDSCAPE
Borrasca, 1986
Floración, 1986
Almendro, 1986
Paisaje de pétalos
A un pedacito de campo
se le abren claros de luz
Laderas y valles
se pintan de flores
el día las baña de azul.
La mañana se extiende,
la mece el viento,
y a lo lejos
fuertes trazos
la manchan de sol.
Lucille Wong
1987
HORSES
Caballo de crin blanca.
Vientos cruzados,
1987
Caballo negro portugués, 1987
Palomino, 1987
Caballitos pompeyanos, 1987
Pareja de caballos, 1987
painting cycle
MAYAN PRINCES
Pareja cósmica, 1987
El ego y las mariposas, 1987
Observando las flores, 1987
1988. Retrospective, Ancient College of San Ildefonso. Mexico, D.F.
· Collective Wong-Vega-Takeda. Elba Gallerie. Stockholm, Sweden.
painting cycle
IGUAZÚ
1988
El viento conmueve el agua al penetrarla, 1988
La garganta del diablo, 1988
Lago argentino,
1988
El cielo abrazado por la tierra, 1988
drawings
TURANDOT
Principessa di norte, 1988
Chiedo di afrontare la prova, 1988
No, richezza no, 1988
painting cycle
THE SPRING
La primavera, 1988
Alcatraces, 1988
Amanecer
Silencio de horas
viento en reposo
palabra en la piel
Anuncian desde la ventana
el abismo del amanecer.
Lucille Wong
1989. Solo exhibition Mayan Princes in the Society of Swedish Industrialists. Stockholm, Sweden.
· IX International Biennial of Art. Valparaiso, Chile.
· Collective exhibition The Woman in the Fine Arts. Watercolor museum. Mexico City
drawings cycle
DANCERS
1989
La primavera, 1988
Alcatraces, 1988
There are no alleged universal truths, ideological offerings or metaphysical sermons in Lucille Wong, but what upsets her sensibility and hurts its human condition: the silences of the night, the revealed gardens, the process of the flower, the limpid colors, the stupor before the cosmos, the mysteries of the face and bodies, the blue.
E . R. Blackaller
