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A vivid abstract painting, acrylic on wood panel, inspired by the city of San Antonio. A dark maroon shape through the center of the image is suggestive of a curvy city street. Around this, bright shades swirl, creating the impression of city grids nestled among abstract shapes. San Antonio buildings hide amongst the bustle of the painting.

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The Vibrant Village 5

This is a series of works I was commissioned by the City of San Antonio during the Covid pandemic. It started right when the pandemic started and luckily was able to proceed because some funding projects were cut during that time. This is a series of paintings on wood panels measuring 4’x6’ and are now hanging in the city tower which houses all the public departments of the city. I incorporated collage and acrylic paint to create an abstract work that intuitively captures the works of a city like worker bees.

Rights Statement

https://creativecommons.org/licenses/by-nc-sa/4.0/

Full Metadata for The Vibrant Village 5

Type

representative image

Subject

acrylic paintings (visual works)

Title

The Vibrant Village 5

Identifier

05162022-2e

Description

A vivid abstract painting, acrylic on wood panel, inspired by the city of San Antonio. A dark maroon shape through the center of the image is suggestive of a curvy city street. Around this, bright shades swirl, creating the impression of city grids nestled among abstract shapes. San Antonio buildings hide amongst the bustle of the painting.

Date Submitted

January 1, 1970

Language

English

Spatial Coverage

San Antonio, Texas, USA -98.4951405 29.4246002

Rights

https://creativecommons.org/licenses/by-nc-sa/4.0/

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Untitled 9

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Untitled 10

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VICTORIA’S CORONA

An acrylic on paper and found objects piece. A painting depicts Queen Victoria, a white woman with slicked back hair, painted in black and white. She is wearing a decorated gown with a V-shaped neck and a sash. Her necklace and earrings are a faint green color. On her head, she wears a lace-like veil and a golden crown that is holding a white and red COVID cell. The painting is in an oval-shaped frame, decorated with black fabric and ribbon that makes a small bow at the top. Lining the bottom of the frame are strings of amber and black colored gems.

An acrylic on paper and found objects piece. A colored painting of Marie Antoinette, a white woman with long ginger hair is in the center of the piece. She wears a blue gown with lace details, pearl bracelets, a pearl necklace, and a pearl headpiece with blue and white striped ribbons. On top of her head is a white and red COVID cell. In her right hand, she holds a golden fork with a piece of pink cake on it. Behind her is a tree and a pink rose bush, the background is blue and purple. The painting is in a long, octagon-shaped wooden frame. Pink and white flowers decorate the top of the frame.

MARIE ANTOINETTE’S CORONA

An acrylic on paper and found objects piece. A colored painting of Marie Antoinette, a white woman with long ginger hair is in the center of the piece. She wears a blue gown with lace details, pearl bracelets, a pearl necklace, and a pearl headpiece with blue and white striped ribbons. On top of her head is a white and red COVID cell. In her right hand, she holds a golden fork with a piece of pink cake on it. Behind her is a tree and a pink rose bush, the background is blue and purple. The painting is in a long, octagon-shaped wooden frame. Pink and white flowers decorate the top of the frame.

A painting of Mary Queen of Scots, a white woman with short ginger hair, in a golden frame. She is wearing a black gown with white lace detailing, a neck collar, and a white headdress. A golden cross necklace rests down the front of her body, and a golden rosary encrusted with colorful gems is attached to her hip. A white and red COVID cell rests on her head. Her right hand is posed on her waist and her left hand is resting on a table with a red cloth. In gold are the words MARIA / D G / SCOTIÆ / PIISSIMA REGINA / FRANCIÆ DOWERIA / ANNO / ÆTATIS REGNI / 36 / ANGLICÆ CAPTIVÆ / 10 / S H./ 1578

MARY QUEEN OF SCOT’s CORONA

A painting of Mary Queen of Scots, a white woman with short ginger hair, in a golden frame. She is wearing a black gown with white lace detailing, a neck collar, and a white headdress. A golden cross necklace rests down the front of her body, and a golden rosary encrusted with colorful gems is attached to her hip. A white and red COVID cell rests on her head. Her right hand is posed on her waist and her left hand is resting on a table with a red cloth. In gold are the words MARIA / D G / SCOTIÆ / PIISSIMA REGINA / FRANCIÆ DOWERIA / ANNO / ÆTATIS REGNI / 36 / ANGLICÆ CAPTIVÆ / 10 / S H./ 1578

An acrylic on paper and found objects piece. A painting of Catherine the Great, a white woman with gray and brown hair, is in the center. She wears red, white, and yellow robes decorated with different flower motifs, and a green, leaf-like hair piece. On top of her head is a white and red COVID cell. The background of the piece is blue. The painting is in a golden frame, decorated with different colored gems.

EMPRESS CATHERINE THE GREAT’s CORONA

An acrylic on paper and found objects piece. A painting of Catherine the Great, a white woman with gray and brown hair, is in the center. She wears red, white, and yellow robes decorated with different flower motifs, and a green, leaf-like hair piece. On top of her head is a white and red COVID cell. The background of the piece is blue. The painting is in a golden frame, decorated with different colored gems.

An acrylic on paper and found objects piece. A painting of Queen Nzinga, an African woman with shoulder length black hair, is the focus of the piece. She wears a white dress draped on one shoulder with a sun motif bunching the fabric on the shoulder, a pearl necklace, golden earrings, and a golden crown with a white and red COVID cell inside of it. The background is yellow with small brown, irregular shapes patterned onto it. The painting is in a golden, square frame with a pattern of short red paint strokes on the inside border, and a small silver crown at the top and bottom middle.

QUEEN NZINGA’S CORONA

An acrylic on paper and found objects piece. A painting of Queen Nzinga, an African woman with shoulder length black hair, is the focus of the piece. She wears a white dress draped on one shoulder with a sun motif bunching the fabric on the shoulder, a pearl necklace, golden earrings, and a golden crown with a white and red COVID cell inside of it. The background is yellow with small brown, irregular shapes patterned onto it. The painting is in a golden, square frame with a pattern of short red paint strokes on the inside border, and a small silver crown at the top and bottom middle.

An acrylic on paper painting of Queen Zenobia. The painting resembles a stone carving with a brown color. Queen Zenobia sits on a throne, wearing robes and heavy jewelry. On top of her head is a white and red COVID cell with a red piece of sequins on the front. Another person stands to her right, fanning her with the large leaf of a plant. A large bird rests on the top left of the throne and a dog sits in the bottom left. Underneath the painting is the name “zenobia” in capital letters. The painting is in a large gold frame with indents along the frame.

ZENOBIA’S CORONA-TION (Queen Zenobia of Palmyra)

An acrylic on paper painting of Queen Zenobia. The painting resembles a stone carving with a brown color. Queen Zenobia sits on a throne, wearing robes and heavy jewelry. On top of her head is a white and red COVID cell with a red piece of sequins on the front. Another person stands to her right, fanning her with the large leaf of a plant. A large bird rests on the top left of the throne and a dog sits in the bottom left. Underneath the painting is the name “zenobia” in capital letters. The painting is in a large gold frame with indents along the frame.

An acrylic on paper and found objects piece. The painting is of Queen Isabella, a white woman with short ginger hair. She wears a red patterned dress with a square neckline, a red and gold necklace, and a crown with colorful gems lining it. Inside of the crown is a white and red COVID cell.Grasped in her hands is a book. The painting is in a golden frame with ornate detailing. A shield-shaped crest is at the top center of the frame and a bible and religious figure are at the bottom left and right.

QUEEN ISABELLA’S CORONA

An acrylic on paper and found objects piece. The painting is of Queen Isabella, a white woman with short ginger hair. She wears a red patterned dress with a square neckline, a red and gold necklace, and a crown with colorful gems lining it. Inside of the crown is a white and red COVID cell.Grasped in her hands is a book. The painting is in a golden frame with ornate detailing. A shield-shaped crest is at the top center of the frame and a bible and religious figure are at the bottom left and right.

An acrylic on board and found objects piece. The painting depicts Empress Wu Zetian, a chinese woman with her hair pulled back and features decorated with white makeup. She wears colorful robes, red earrings, and a large golden headpiece with a white and red COVID cell on top. The painting is in an oval shaped frame and decorated with different flower-shaped and small brown objects.

EMPRESS WU ZETIAN’S CORONA

An acrylic on board and found objects piece. The painting depicts Empress Wu Zetian, a chinese woman with her hair pulled back and features decorated with white makeup. She wears colorful robes, red earrings, and a large golden headpiece with a white and red COVID cell on top. The painting is in an oval shaped frame and decorated with different flower-shaped and small brown objects.

An acrylic on paper and found objects piece. A painting depicts Queen Victoria, a white woman with slicked back hair, painted in black and white. She is wearing a patterned gown with a V-shaped neck and a sash. Her necklace, bracelets, and earrings are a faint green color. On her head is a long, lace-like veil and a golden crown with a white and red COVID cell inside. The painting is in a frame, decorated with a gold square-shaped pattern on a black background. A black fabric flower is on the top center.

QUEEN VICTORIA’S CORONA-TION

An acrylic on paper and found objects piece. A painting depicts Queen Victoria, a white woman with slicked back hair, painted in black and white. She is wearing a patterned gown with a V-shaped neck and a sash. Her necklace, bracelets, and earrings are a faint green color. On her head is a long, lace-like veil and a golden crown with a white and red COVID cell inside. The painting is in a frame, decorated with a gold square-shaped pattern on a black background. A black fabric flower is on the top center.

A wooden lawn chair, painted a light blue. The chair has white, puffy clouds painted on the back and armrests.

Calm in the Storm 5

A wooden lawn chair, painted a light blue. The chair has white, puffy clouds painted on the back and armrests.

A painted pair of tennis shoes. A hand holds up one of the shoes while the other lays on a black leather surface. The shoes show the left and right side, which are painted to depict a waterfront scene. Towards the left is tall grass and a sandy beach. Blue and white water laps on the shore. The rest of the water is a deep blue. At the top of the shoe, seagulls fly through a cloudy sky. This painting is repeated on the second shoe but reversed.

Calm in the Storm 6

A painted pair of tennis shoes. A hand holds up one of the shoes while the other lays on a black leather surface. The shoes show the left and right side, which are painted to depict a waterfront scene. Towards the left is tall grass and a sandy beach. Blue and white water laps on the shore. The rest of the water is a deep blue. At the top of the shoe, seagulls fly through a cloudy sky. This painting is repeated on the second shoe but reversed.

Painted oyster shells resting on a white surface, a hand holds one of them up for a better view. Inside each shell is a painted beach scene. In the paintings, a seagull stands next to tall, green grass on a sandy beach. Water laps up onto the shore, and the rest of the water is a dark blue. At the top of the shells, seagulls fly through a cloudy sky.

Calm in the Storm 7

Painted oyster shells resting on a white surface, a hand holds one of them up for a better view. Inside each shell is a painted beach scene. In the paintings, a seagull stands next to tall, green grass on a sandy beach. Water laps up onto the shore, and the rest of the water is a dark blue. At the top of the shells, seagulls fly through a cloudy sky.

White slip on shoes painted with black, stylized cartoon-like figures. The patterns are repeated continuously, outlining each other in different human and animal shapes as well as dotted lines filling in the gaps.

Calm in the Storm 8

White slip on shoes painted with black, stylized cartoon-like figures. The patterns are repeated continuously, outlining each other in different human and animal shapes as well as dotted lines filling in the gaps.

An acrylic painting of mushrooms against a night sky. The mushrooms have either a tan or red cap and are of varying sizes. Dark grass surrounds the mushrooms. The background is black with firefly-like dots of gold surrounding them and filling the sky.

Calm in the Storm 9

An acrylic painting of mushrooms against a night sky. The mushrooms have either a tan or red cap and are of varying sizes. Dark grass surrounds the mushrooms. The background is black with firefly-like dots of gold surrounding them and filling the sky.

A painted lightswitch cover. Filling the bottom and right side are different wildflowers in oranges and yellows. At the top left corner is a blue and purple hummingbird, drinking nectar from a flower.

Calm in the Storm 10

A painted lightswitch cover. Filling the bottom and right side are different wildflowers in oranges and yellows. At the top left corner is a blue and purple hummingbird, drinking nectar from a flower.

An oil painting of a vibrant interior. The tall walls of the hallway are a bright yellow, with two doorways on each side in a muted purple. Light gray picture frames are placed on either side of the right doorway. Magenta colored bricks line the floor, leading to an opened doorway with an arched window on top, light shining through the window and reflecting onto the ground. Past the opened door is a terrace filled with bright greenery, a tree, and a plant in a yellow pot with red flowers.

To the Terrace

An oil painting of a vibrant interior. The tall walls of the hallway are a bright yellow, with two doorways on each side in a muted purple. Light gray picture frames are placed on either side of the right doorway. Magenta colored bricks line the floor, leading to an opened doorway with an arched window on top, light shining through the window and reflecting onto the ground. Past the opened door is a terrace filled with bright greenery, a tree, and a plant in a yellow pot with red flowers.

An acrylic painting done on linen of a turbulent sea swallowing the Statue of Liberty. The green crown and outstretched hand with the torch peaks out from the violent waves. The whiteness of sea foam splashes up around them from the dark blue and black waves violently crashing in the water. Above the sea is the twisting darkness of storm clouds, a white lightning bolt striking close to the statue’s crown.

State of the Nation

An acrylic painting done on linen of a turbulent sea swallowing the Statue of Liberty. The green crown and outstretched hand with the torch peaks out from the violent waves. The whiteness of sea foam splashes up around them from the dark blue and black waves violently crashing in the water. Above the sea is the twisting darkness of storm clouds, a white lightning bolt striking close to the statue’s crown.

To the Terrace Tutorial

An acrylic painting depicting an anatomically correct heart. The heart has a tan bandaid at the top, and two horizontal cuts towards the bottom. One of the cuts is stitched with gray, vertical stitches. A pale hand holds a needle and thread between its pointer finger and thumb, creating ‘x’ shaped stitches through the second cut.

To Mend a Broken Heart 1

An acrylic painting depicting an anatomically correct heart. The heart has a tan bandaid at the top, and two horizontal cuts towards the bottom. One of the cuts is stitched with gray, vertical stitches. A pale hand holds a needle and thread between its pointer finger and thumb, creating ‘x’ shaped stitches through the second cut.

An acrylic painting depicting an anatomically correct heart. The heart has a tan bandaid at the top, and two horizontal cuts towards the bottom. One of the cuts is stitched with gray, vertical stitches. A pale hand holds a needle and thread between its pointer finger and thumb, creating ‘x’ shaped stitches through the second cut.

To Mend a Broken Heart 2

An acrylic painting depicting an anatomically correct heart. The heart has a tan bandaid at the top, and two horizontal cuts towards the bottom. One of the cuts is stitched with gray, vertical stitches. A pale hand holds a needle and thread between its pointer finger and thumb, creating ‘x’ shaped stitches through the second cut.

Ink and acrylic on canvas. The piece depicts a gray colored angel, turned to the right side and holding their chest, their wings angled downwards. The angel looks upwards with their eyes closed. Surrounding them are blots of blue paint and ink in different shades.

Angel of the Pandemic: Dear Lord, I am Tired

Ink and acrylic on canvas. The piece depicts a gray colored angel, turned to the right side and holding their chest, their wings angled downwards. The angel looks upwards with their eyes closed. Surrounding them are blots of blue paint and ink in different shades.

Acrylic on a black canvas. The outline of a person wearing a beaded necklace and a dress is done in white. The top of the dress is a solid purple while the bottom of the dress is done in a pour so different shades of purple and white overlap each other.

Someday We'll Dance

Acrylic on a black canvas. The outline of a person wearing a beaded necklace and a dress is done in white. The top of the dress is a solid purple while the bottom of the dress is done in a pour so different shades of purple and white overlap each other.

An acrylic on canvas painting depicting someone doing laundry outside. The person has tan skin, short brown hair, and is wearing a yellow dress; their arms are outstretched as they hold onto a white and blue sheet that is blowing into the air. A clothesline with other blue and pink sheets is behind them. In front of them is a white picket fence made out of small pieces of fabric. Behind them, green grass continues and trees line the horizon before opening into a deep blue sky.

Hanging on or Letting Go

An acrylic on canvas painting depicting someone doing laundry outside. The person has tan skin, short brown hair, and is wearing a yellow dress; their arms are outstretched as they hold onto a white and blue sheet that is blowing into the air. A clothesline with other blue and pink sheets is behind them. In front of them is a white picket fence made out of small pieces of fabric. Behind them, green grass continues and trees line the horizon before opening into a deep blue sky.

A framed ink and acrylic piece. Blue, green, and purple ink fill the center of the piece, encompassing a section of white. In the white section there are two butterflies, one teal and the other purple, their shadows reflecting onto the white background. Above the center, another smaller teal butterfly rests with its shadow reflecting onto the white surface. The piece is in a black frame.

Breaking Free

A framed ink and acrylic piece. Blue, green, and purple ink fill the center of the piece, encompassing a section of white. In the white section there are two butterflies, one teal and the other purple, their shadows reflecting onto the white background. Above the center, another smaller teal butterfly rests with its shadow reflecting onto the white surface. The piece is in a black frame.

An acrylic painting of an old, crumbling building. The building has red slats for a roof, their spacing revealing gaps and support beams inside. The building has gray worn, wooden siding with an open door and a window to the right side. The bottom right side of the building has worn, brown siding. The top right of the building has nothing, which then leads to a hole in the siding on the other side of the building, opening into the grayness of the background.

No One There Any More 1

An acrylic painting of an old, crumbling building. The building has red slats for a roof, their spacing revealing gaps and support beams inside. The building has gray worn, wooden siding with an open door and a window to the right side. The bottom right side of the building has worn, brown siding. The top right of the building has nothing, which then leads to a hole in the siding on the other side of the building, opening into the grayness of the background.

An acrylic painting of an old, crumbling barn. The barn has rectangular shaped siding in yellow, white, and red; all of the colors worn out. The siding is sparse, revealing the foundations of the building and the green hilly background and blue sky through a hole in the back left side of the barn.

No One There Any More 2

An acrylic painting of an old, crumbling barn. The barn has rectangular shaped siding in yellow, white, and red; all of the colors worn out. The siding is sparse, revealing the foundations of the building and the green hilly background and blue sky through a hole in the back left side of the barn.

An acrylic painting of an old house, falling apart. The house is small with white siding; through a window on the right side, the back end of the house has no siding and opens up into the green and blue background. At the front of the house, brown slabs that look similar to a roof rest against the home.

No One There Any More 3

An acrylic painting of an old house, falling apart. The house is small with white siding; through a window on the right side, the back end of the house has no siding and opens up into the green and blue background. At the front of the house, brown slabs that look similar to a roof rest against the home.

An acrylic painting of old wooden siding on a building. The top half is a worn gray while the bottom half is a worn brown. The wood has gaps that reveal the foundations of and open into the darkness of the building.

No One There Any More 4

An acrylic painting of old wooden siding on a building. The top half is a worn gray while the bottom half is a worn brown. The wood has gaps that reveal the foundations of and open into the darkness of the building.

An acrylic painting of an old building with wooden siding and a wooden roof. The wood is a worn gray color with gaps in the siding that open into the darkness of the building.

No One There Any More 5

An acrylic painting of an old building with wooden siding and a wooden roof. The wood is a worn gray color with gaps in the siding that open into the darkness of the building.

An acrylic painting of an old building. The building has light blue, wooden siding and is next to another building on the right that has bright red siding. The wood on the blue building is worn with small gaps in between some of the pieces. The building has a space for a door and window.

No One There Any More 6

An acrylic painting of an old building. The building has light blue, wooden siding and is next to another building on the right that has bright red siding. The wood on the blue building is worn with small gaps in between some of the pieces. The building has a space for a door and window.

An acrylic painting of an old barn. The barn has light blue siding and a red roof. There are gaps in the siding that reveal the darkness inside of the barn as well as a small window at the top. There is a wall with red and gray siding and a plank that goes across it.

No One There Any More 7

An acrylic painting of an old barn. The barn has light blue siding and a red roof. There are gaps in the siding that reveal the darkness inside of the barn as well as a small window at the top. There is a wall with red and gray siding and a plank that goes across it.

On a light tan paper background, painted footprints of all different sizes cover the piece in a darker tan-gray color. The footprints do not overlap and are turned to the left and right, following no specific path.

AHISTORIC WALK

On a light tan paper background, painted footprints of all different sizes cover the piece in a darker tan-gray color. The footprints do not overlap and are turned to the left and right, following no specific path.

An acrylic painting on a light colored wooden panel. The painting depicts a wishbone; a forked bone with two curved sides, in a light yellow color. At the bottom of the bone is a series of three green chains, slipped over the two sides.

Make a Wish

An acrylic painting on a light colored wooden panel. The painting depicts a wishbone; a forked bone with two curved sides, in a light yellow color. At the bottom of the bone is a series of three green chains, slipped over the two sides.

An acrylic painting on a wood panel. Towards the center right is a small, yellow home. The ground beneath it is a deep purple gradient that becomes lighter the closer it is to the house. Above the house is a deep blue gradient that also is lightest the closer it is to the house. Vivid green trees surround the horizon.

Nancy Rose Blvd.

An acrylic painting on a wood panel. Towards the center right is a small, yellow home. The ground beneath it is a deep purple gradient that becomes lighter the closer it is to the house. Above the house is a deep blue gradient that also is lightest the closer it is to the house. Vivid green trees surround the horizon.

A large acrylic on canvas painting. The background of the painting is pale orange with pale red swirls. The canvas is filled with lines of handwritten text dotted with paintings of the COVID germ cell. The text is in different colors and so small it is hard to distinguish. Most of what is visible is the phrase “tick tock” repeated over and over.

QUARANTINE

A large acrylic on canvas painting. The background of the painting is pale orange with pale red swirls. The canvas is filled with lines of handwritten text dotted with paintings of the COVID germ cell. The text is in different colors and so small it is hard to distinguish. Most of what is visible is the phrase “tick tock” repeated over and over.

A vibrant acrylic painting on canvas of layered shapes and paint strokes. Horizontal lines pattern the background of the canvas, in repeated rows of brown, yellow, and red. This pattern has been covered with a thin coat of white paint, so it is very faint. Over this, gray rectangles of various sizes are arranged to create uneven blocky structures. Many small bright red worm-like shapes wriggle around the blocks. Some are climbing up, some are sliding down the sides, but most are perched at the top, reaching toward the upper edge of the canvas that is covered in bright green paint strokes that resemble an aurora borealis.

Untitled 3

Geoffrey Levitt

A vibrant acrylic painting on canvas of layered shapes and paint strokes. Horizontal lines pattern the background of the canvas, in repeated rows of brown, yellow, and red. This pattern has been covered with a thin coat of white paint, so it is very faint. Over this, gray rectangles of various sizes are arranged to create uneven blocky structures. Many small bright red worm-like shapes wriggle around the blocks.

An acrylic painting on canvas. At the center of the painting, black and blue circles and small wavy lines form a medium-sized ball of shapes. Long lines in shades of green waver as they extend from the ball. The space between these lines is filled with solid colors like dark green, lime green, and blue. The painting resembles a close-up image of a flower’s disc and petals.

Untitled 4

Geoffrey Levitt

An acrylic painting on canvas. At the center of the painting, black and blue circles and small wavy lines form a medium-sized ball of shapes. Long lines in shades of green waver as they extend from the ball. The space between these lines is filled with solid colors like dark green, lime green, and blue. The painting resembles a close-up image of a flower’s disc and petals.

An acrylic painted fall scene on canvas. At the center of the painting is a dark brown tree with thick, snaky branches and roots that spill through the fallen leaves surrounding the tree. The fallen leaves have orange and red tones, but the leaves in the tree branches are bright yellow. More of these orange and red leaves form a tall wall along the left edge of the canvas. The tree also has streams of water falling from the branches and running over the roots. Sketched in the white space behind the tree is a wide building with curved pillars along the side that form many rounded entryways, and behind this is a tall spiral building.

Untitled 5

Geoffrey Levitt

An acrylic painted fall scene on canvas. At the center of the painting is a dark brown tree with thick, snaky branches and roots that spill through the fallen leaves surrounding the tree. The fallen leaves have orange and red tones, but the leaves in the tree branches are bright yellow. More of these orange and red leaves form a tall wall along the left edge of the canvas. The tree also has streams of water falling from the branches and running over the roots.

A brightly colored abstract painting, acrylic on wood panel, inspired by the city of San Antonio. Lines and shapes predominantly in shades of yellow, green, teal, red, and orange create a warm and vibrant image. Hidden inside of the painting, abstracted by the busy shapes and lines, is a bicycle, a bus, a flower, and several suggestions of city grids, parks, and buildings.

The Vibrant Village 1

A brightly colored abstract painting, acrylic on wood panel, inspired by the city of San Antonio. Lines and shapes predominantly in shades of yellow, green, teal, red, and orange create a warm and vibrant image. Hidden inside of the painting, abstracted by the busy shapes and lines, is a bicycle, a bus, a flower, and several suggestions of city grids, parks, and buildings.

A colorful abstract acrylic painting on wood, inspired by the city of San Antonio. A bright teal blue provides the basis for a multitude of swirling colors– dark blue, yellow, red, orange, green, and more. Lines within the painting create rounded shapes. Hidden among these are gardens of flowers, houses, parks and buildings of San Antonio as vividly colored as their surroundings.

The Vibrant Village 2

A colorful abstract acrylic painting on wood, inspired by the city of San Antonio. A bright teal blue provides the basis for a multitude of swirling colors– dark blue, yellow, red, orange, green, and more. Lines within the painting create rounded shapes. Hidden among these are gardens of flowers, houses, parks and buildings of San Antonio as vividly colored as their surroundings.

A vivid abstract painting, acrylic on wood, inspired by the city of San Antonio. Swirling bright blues, greens, yellows, reds and oranges at the top of the image meet earthy green round shapes reminiscent of cacti at the bottom of the image. Hidden within the painting is an eyeball, several fancy red cars, as well as shapes reminiscent of city grids and cul-de-sacs.

The Vibrant Village 3

A vivid abstract painting, acrylic on wood, inspired by the city of San Antonio. Swirling bright blues, greens, yellows, reds and oranges at the top of the image meet earthy green round shapes reminiscent of cacti at the bottom of the image. Hidden within the painting is an eyeball, several fancy red cars, as well as shapes reminiscent of city grids and cul-de-sacs.

A vivid abstract painting, acrylic on wood, inspired by the city of San Antonio. The predominant colors of the image, pumpkin orange and bright teal-blue, swirl with numerous other colors to create a graphic painting. Hidden within the painting are equally vividly colored leafy plants, gardens, city grids, and buildings reminiscent of the city.

The Vibrant Village 4

A vivid abstract painting, acrylic on wood, inspired by the city of San Antonio. The predominant colors of the image, pumpkin orange and bright teal-blue, swirl with numerous other colors to create a graphic painting. Hidden within the painting are equally vividly colored leafy plants, gardens, city grids, and buildings reminiscent of the city.

A vivid abstract painting, acrylic on wood, inspired by San Antonio. A grassy lawn at the top left corner of the image collides with brightly colored abstracted city grids in the rest of the image. Hidden amongst the busy shapes are cowboy boots, and features of the city of San Antonio.

The Vibrant Village 6

A vivid abstract painting, acrylic on wood, inspired by San Antonio. A grassy lawn at the top left corner of the image collides with brightly colored abstracted city grids in the rest of the image. Hidden amongst the busy shapes are cowboy boots, and features of the city of San Antonio.

An abstract painting inspired by the city of San Antonio. Shades of cool blue and green circle around the piece, mixed with vibrant oranges and yellows, tracing curves and shapes that resemble buildings, street maps, and urban sprawl. Hidden within is a bicycle and an orange two-story building with a domed roof.

The Vibrant Village 7

An abstract painting inspired by the city of San Antonio. Shades of cool blue and green circle around the piece, mixed with vibrant oranges and yellows, tracing curves and shapes that resemble buildings, street maps, and urban sprawl. Hidden within is a bicycle and an orange two-story building with a domed roof.

An abstract painting inspired by the city of San Antonio. Vibrant rainbow colors swirl across the piece, forming various layers of circles and ovals. An organic orange line stretches from the top to bottom like a street, curving around the shapes, with a small pattern like footprints decorating it.

The Vibrant Village 8

An abstract painting inspired by the city of San Antonio. Vibrant rainbow colors swirl across the piece, forming various layers of circles and ovals. An organic orange line stretches from the top to bottom like a street, curving around the shapes, with a small pattern like footprints decorating it.

An abstract acrylic on wood panel painting. The top of the painting is filled with a pattern resembling an urban sprawl. The bottom half is taken up by a large blue spiral and two multicolor, petal-like ovals.

The Vibrant Village 9

An abstract acrylic on wood panel painting. The top of the painting is filled with a pattern resembling an urban sprawl. The bottom half is taken up by a large blue spiral and two multicolor, petal-like ovals.

An abstract, acrylic on wood painting representing the city of San Antonio. Highlighted in the piece are three circles; one with a city skyline, one with roads and an airplane, and one with a view of the city from above. Surrounding the circles are clouds, various geometric shapes, and blue lines that curve throughout the piece.

The Vibrant Village 10

An abstract, acrylic on wood painting representing the city of San Antonio. Highlighted in the piece are three circles; one with a city skyline, one with roads and an airplane, and one with a view of the city from above. Surrounding the circles are clouds, various geometric shapes, and blue lines that curve throughout the piece.

A colorful mixed media artwork. The background is blended shades of warm pink and orange on top, and sections of cool blue and green on the bottom meeting to create various colors in the center. Throughout the piece are webs of organic, sometimes violent-looking scribbles and lines. The lines are all textured chalk, but vary in color, thickness, shape, and size.

Thatcher

A colorful mixed media artwork. The background is blended shades of warm pink and orange on top, and sections of cool blue and green on the bottom meeting to create various colors in the center. Throughout the piece are webs of organic, sometimes violent-looking scribbles and lines. The lines are all textured chalk, but vary in color, thickness, shape, and size.

A photograph of an acrylic painting on canvas. The painting depicts a campfire in the darkness, the sky is not visible. The homemade fire pit is made out of a circular arrangement of narrow bricks that surround a pile of sticks and logs blazing with the orange, yellow, and white heat of fire, illuminating the ground around it.

Campfire 2

A photograph of an acrylic painting on canvas. The painting depicts a campfire in the darkness, the sky is not visible. The homemade fire pit is made out of a circular arrangement of narrow bricks that surround a pile of sticks and logs blazing with the orange, yellow, and white heat of fire, illuminating the ground around it.

A photograph of an acrylic painting on canvas depicting a campfire at what appears to be shortly before nightfall, the sky is not visible. The firepit is made out of stone and brick arranged in a circular pattern, surrounding a pile of logs and sticks that are blazing orange, yellow, and white with the heat of fire, illuminating the grass around it.

Campfire 3

A photograph of an acrylic painting on canvas depicting a campfire at what appears to be shortly before nightfall, the sky is not visible. The firepit is made out of stone and brick arranged in a circular pattern, surrounding a pile of logs and sticks that are blazing orange, yellow, and white with the heat of fire, illuminating the grass around it.

A photograph of an acrylic painting on canvas depicting a scenic view of a man sitting, tending to a campfire on a patch of land overlooking a lake. The firepit is large with a tall, crackling fire. The man is poking at it with a long stick. The moon shines over the lake, the deep blue of the sky reflected in it. A forested green brush of trees surrounds the lake and is also reflected on the water.

Campfire 13

A photograph of an acrylic painting on canvas depicting a scenic view of a man sitting, tending to a campfire on a patch of land overlooking a lake. The firepit is large with a tall, crackling fire. The man is poking at it with a long stick. The moon shines over the lake, the deep blue of the sky reflected in it. A forested green brush of trees surrounds the lake and is also reflected on the water.

A photograph of an acrylic painting of two women sitting by a campfire, drinking wine, overlooking a lake framed by trees. The campfire is large, the fire tall. The sky is a cloudy dusk.

Campfire 10

A photograph of an acrylic painting of two women sitting by a campfire, drinking wine, overlooking a lake framed by trees. The campfire is large, the fire tall. The sky is a cloudy dusk.

A photograph of an acrylic painting of a man and woman sitting around a campfire, during dusk. The man is holding a guitar, the woman watching the fire. The fire is wide but low, illuminating the grass and trees.

Campfire 14

A photograph of an acrylic painting of a man and woman sitting around a campfire, during dusk. The man is holding a guitar, the woman watching the fire. The fire is wide but low, illuminating the grass and trees.

A photograph of an acrylic painting of a girl sitting in the grass next to a large, smoky campfire, roasting a marshmallow at night. The girl has fair skin and is wearing a yellow shirt and has shoulder length blonde hair. She is illuminated by the yellow, orange, and white glow of the fire.

Campfire 9

A photograph of an acrylic painting of a girl sitting in the grass next to a large, smoky campfire, roasting a marshmallow at night. The girl has fair skin and is wearing a yellow shirt and has shoulder length blonde hair. She is illuminated by the yellow, orange, and white glow of the fire.

A photograph of an acrylic painting of a girl crouching in the grass next to a campfire, roasting a marshmallow at night. She has fair skin and is wearing a blue shirt, blue shorts, and has shoulder length brown hair. The fire is medium sized, illuminating the scenery around them.

Campfire 11

A photograph of an acrylic painting of a girl crouching in the grass next to a campfire, roasting a marshmallow at night. She has fair skin and is wearing a blue shirt, blue shorts, and has shoulder length brown hair. The fire is medium sized, illuminating the scenery around them.

A photograph of an acrylic painting of three fair-skinned girls playing with sparklers in front of a campfire during the night, their arms outstretched in different poses. The fire is illuminating the grass around them, and a lake is in the background.

Campfire 12

A photograph of an acrylic painting of three fair-skinned girls playing with sparklers in front of a campfire during the night, their arms outstretched in different poses. The fire is illuminating the grass around them, and a lake is in the background.

An acrylic painting of a skyline rooted in red lines of muscle fiber swirling up to a blue sky against a glowing orange backdrop. At the bottom of the spiral, the skyline is white on a black background, and further up, the skyline is white against the overall orange. The dark red of the muscle tissue grows smaller and smaller into the center of the spiral, where there is a circle of blue sky with puffy white clouds.

The Fibres of Our Being 1

An acrylic painting of a skyline rooted in red lines of muscle fiber swirling up to a blue sky against a glowing orange backdrop. At the bottom of the spiral, the skyline is white on a black background, and further up, the skyline is white against the overall orange. The dark red of the muscle tissue grows smaller and smaller into the center of the spiral, where there is a circle of blue sky with puffy white clouds.

A photograph of an acrylic painting on cardboard. Painted over a black background, is a woman’s face with skin in hues of pink and purple, and pink ears with black earrings. She has 4 purple eyes: two on the left and two on the right, as well as one blue eye in the center of her forehead, all of which are looking in different directions. Her face is split down the center so that the blue eye and bright red lips are separated in two. In the lower left corner is a small white artist signature.

Pieces

María Ximena Hernández Rayas

A photograph of an acrylic painting on cardboard. Painted over a black background, is a woman’s face with skin in hues of pink and purple, and pink ears with black earrings. She has 4 purple eyes: two on the left and two on the right, as well as one blue eye in the center of her forehead, all of which are looking in different directions. Her face is split down the center so that the blue eye and bright red lips are separated in two. In the lower left corner is a small white artist signature.

A photograph of a marker drawing on paper. Over the white background is an image of a woman with pale-pink skin, freckles over her cheeks, dark blue eyebrows and shoulder length dark blue hair. She is wearing black earrings and a purple crystal necklace. Her mouth is open and there are blue butterflies climbing out of it, while others fly around her head. She has elf-like pointy ears with small black earrings in them. She also has an open third eye on her forehead with a light pink iris, and her eyes are dripping with tears.

Butterflies

María Ximena Hernández Rayas

A photograph of a marker drawing on paper. Over the white background is an image of a woman with pale-pink skin, freckles over her cheeks, dark blue eyebrows and shoulder length dark blue hair. She is wearing black earrings and a purple crystal necklace. Her mouth is open and there are blue butterflies climbing out of it, while others fly around her head. She has elf-like pointy ears with small black earrings in them. She also has an open third eye on her forehead with a light pink iris, and her eyes are dripping with tears.

A photograph of a colorful, abstract canvas painting. The painting was created by a poured paint method, resulting in curvy organic shapes and cells. Bright orange, purple, green and blue paints move inward from the left edge toward the green, red, and yellow paints coming in from the right edge. These colors don’t exactly mix, but intertwine with each other into a freeform stream down the center of the canvas. White paint fills the gaps between these interactions and mixes with the other colors.

Pour paints 3

A photograph of a colorful, abstract canvas painting. The painting was created by a poured paint method, resulting in curvy organic shapes and cells. Bright orange, purple, green and blue paints move inward from the left edge toward the green, red, and yellow paints coming in from the right edge. These colors don’t exactly mix, but intertwine with each other into a freeform stream down the center of the canvas. White paint fills the gaps between these interactions and mixes with the other colors.

A photograph of a colorful, abstract canvas painting. The painting was created by a poured paint method, resulting in curvy organic shapes and spots. Starting from the left edge and moving to the right, a pastel multicolor cloud and dark blue waves bump into a large cascade of dark orange and maroon. Black paint fills the gaps between these interactions, but small yellow spots cover the canvas and brighten the scene.

Pour paints 1

A photograph of a colorful, abstract canvas painting. The painting was created by a poured paint method, resulting in curvy organic shapes and spots. Starting from the left edge and moving to the right, a pastel multicolor cloud and dark blue waves bump into a large cascade of dark orange and maroon. Black paint fills the gaps between these interactions, but small yellow spots cover the canvas and brighten the scene.

A photograph of six canvas paintings on a green paint splotted background, arranged in two rows of three. These paintings were created by a poured paint method, resulting in curvy organic shapes and spots. They are all quite similar in color and composition, aside from differences in arrangement. In each painting, dark blue and purple waves bump into other cascading paints. Other colors present are dark orange, maroon, bright white, pink, and yellow. Five of the six paintings are also covered in a layer of small yellow spots. Black paint fills the gaps.

Pour paints 2

A photograph of six canvas paintings on a green paint splotted background, arranged in two rows of three. These paintings were created by a poured paint method, resulting in curvy organic shapes and spots. They are all quite similar in color and composition, aside from differences in arrangement. In each painting, dark blue and purple waves bump into other cascading paints. Other colors present are dark orange, maroon, bright white, pink, and yellow. Five of the six paintings are also covered in a layer of small yellow spots. Black paint fills the gaps.