Rody Lopez
Artist Statement
My work is a careful and methodical documentation of history and tradition by which I aim to reveal a personal process of understanding humanity in ways that go beyond language. I am interested in representing a dark portion of the human experience by using a very traditional form of craft. I use materials that are tied to my memories and the image of my homeland thereby creating an intimate relationship with the medium. These intimate sensations are strengthened and motivated by the mortal world for which I feel unqualified empathy. Every factor of life affects me and by natural inclination I take sides with victimized minorities.
I chose to work with yarn and linen because of their immediacy to nature. Fiber establishes an instant link with the natural world, of which we are all an enduring part, and it is therefore a very sympathetic medium, more sincere perhaps than pigment or metal and analogous to the basic components of man. Fiber immediately triggers a visceral and tactile quality, which invites the viewer to physically experience the work.
I learned how to embroider four months ago from my grandmother in Guatemala. She taught me a very basic stitch, one that I have used unremittingly to create what I offer, which is a representation of children at war. The portraits function to help shape and spark thought and not merely reflect a crude reality; they are more than an attempt to communicate my sensations to the viewer. The children’s roles in these acts of war are echoed throughout history as millions have been forced to take up arms and fight someone else’s war. Currently, an estimated 300,000 children are involved in over 19 armed conflicts worldwide. By physically engaging with my work, I am not asking the viewer to feel pity for the children, I am asking for something more fruitful. By doing nothing to stop the use of children in armed conflicts, we are supporting the problem. Ultimately, my goal is to portray my passion for empathy and awareness—it is about an understanding of the modification of these images by my privileged place in history and culture.
