THE SINS (I - IV)

I. AESTHETIC AND PHILOSOPHICAL STATEMENT, THE EARLY STAGES
Some recurring aesthetic elements and iconography since my early development as an artist have dealt with various subject matters such as social, political, cultural, and religious issues. For many years, I have worked in defining my identity as an individual, as Puerto Rican, as a minority, etc. By defining myself, I have been re-interpreting what it is to be me and have fallen into a never-ending cycle of re-assessing and re-inventing myself as a Puerto Rican artist on both my island and the United States.

I am as pointed out to me various times by art critic and historian Alvarez Lezama as an existentialist artist.  Existentialism is a philosophical movement that denies that the universe has any intrinsic meaning or purpose. It requires people to take responsibility for their own actions and shape their own destinies.[1] It has never been my intention to create, in any shape or form, a negative discourse or to criticize society. I try very hard not to place judgment on human behavior; instead, I intend to create a statement that will provoke analysis by questioning our own individual existence as we engage in a direct critical dialog. Of course I do have my own beliefs and opinions and lots of discriminatory judgment. I would be lying if I said I don’t; it’s my given right and nature as a human being to do so, right?  I view myself as a chronicler and journalist. I continuously look at my life honestly and without any inhibitions, my surroundings, my family, my heritage, people, society, etc., deconstructing and reconfiguring to create work that tells stories that will engage the spectator in what I affectionately call the circus, the spectacle of life.

Figure 1. Antonio Fonseca Vázquez. Metropol. Drawing mixed media on paper. 44” x 60”. 1997. © Antonio Fonseca Vázquez.

Figure 3. Antonio Fonseca Vázquez. Trazos de Identidad y Cultura, Traces of Identity and Culture. Oil/mixed media on linen. 77” x 110.” 1998. © Antonio Fonseca Vázquez.

Figure 2. Antonio Fonseca Vázquez. Shh, Shh, Shh, Silencio Shh, Shh, Shh, Silence. Drawing mixed media on paper. 60” x 50”. 1997. © Antonio Fonseca Vázquez.

Figure 5. Antonio Fonseca Vázquez. La Marketa, The Market. Oil on Linen and canvas. 98” x 102.” 2001. © Antonio Fonseca Vázquez.

My aesthetic and visual discourse came to realization in 1997 with Shh, Shh, Shh, Silencio; Shh, Shh, Shh, Silence (Figure 2), a large format drawing that earned an award in the Biannual of Casa Roig in 1994. But it was not until 1997, with the work shown at the Botello Gallery [2], that my philosophical statement was solidified. Each work in this series was a clear example of my visual language, but none of them was direct to the subject/statement as Metropol (Figure 1). Metropol illustrates my interest in the political and social structure of the people and environment I was surrounded by in my daily trips from Caguas to Old San Juan in a 15-passenger van “pisa y corre” [3] when attending the School of Fine Arts. At that time, I was researching German  Expressionism and  stumbled upon a film by Fritz Lang titled Metropolis [4], which is still a
significant influence on my artwork. This 1997 show at the Botello Gallery catapulted me as one of the island's most promising artists and earned me recognition as one of Puerto Rico's most influential drawing artists of the time. Sadly, this was to be the only drawing show I would have done since then.

Figure 4. Antonio Fonseca Vázquez. Recordando a Los Viejos, Remembering my Grandparents. Oil/mixed media on wood. 24” x 48 x 4.” 2003. © Antonio Fonseca Vázquez.

My visual and philosophical statements have been similar from 1998 to 2006. During this period, some of my most publicly acclaimed exhibits have been: Visiones Visions 2001 [5], Recordando Remembering 2004 [6], Entre La Memoria y El Icono Between Memories and the Icons 2004 [7]  and Doble Sentido Double Intender 2006 [8].

Some important art works from these shows that have become icons of my art career are: La Marketa (Figure 5) was awarded third place at the 34ème Festival Internacional de la Peinture, Château-Museum de Cagnes-Sur-Mer, Cote d’Azur, France, 2002. Trazos De Identidad Y Cultura Traces of Identity and Culture (Figure 3) was awarded an honorific mention at the XXXeme International Painting Festival of the Museum of Cagnes-sur-Mer, Côte d'Azur, France, in 1998. Memorias Desconocidas Unknown Memories”, Recordando A Los Viejos Remembering My Grandparents. (figure 7) and Toxicidad Social Social Toxicity” (Figure 8).

Figure 6. Antonio FonsecaVázquez. Memorias de mi Niñez, Childhood Memories. Oil/mixed media on wood. 24” x 48 x 4.” 2003. © Antonio Fonseca Vázquez.

Figure 7. Antonio Fonseca Vázquez. Memorias Desconosidas, Uncnown Memories. Mixed Media. Variable dimensions. 2003. © Antonio Fonseca Vázquez.

II. THE EVOLUTION OF MY SINS
In retrospect, there is no definitive starting point in my work or research that could be considered the beginning of my interest in religion as a subject matter. Religion has always been an important element in my life and work. My parents, more so my mother, were avid religious people; religion, family, Sunday mass, becoming an altar boy, church schooling, and so on. My involvement was so great that I even contemplated becoming a priest.

Common practices in Puerto Rican culture caught my interest. Altarpieces are customary in all social circles; these altar pieces are clearly distinctive elements that conform to Santeria. I  noticed that for most people, the idea of considering their practice as Santeria was sacrilege. I believe that the ritual has transcended its religious foundations, has become ingrained in Puerto Rican culture, and has become national folklore. This phenomenon might have  taken place as a social response, as Puerto Rican people embraced their nationalistic image in order to preserve their identity in the midst of invasions, colonization, and eventually the fast emersion of American culture. Still today, many homes in and outside Puerto Rico have altar pieces, either as a space to pray, a space to pay homage to their patron saints, the dead or the living, and so on. These altar pieces can be simple, but they are commonly gothic and decorated with candles, pictures, icons, miracles, and other objects.

This series was extremely inspiring; it gave form to my thesis and research and helped solidify my aesthetic and philosophical statement. Works such as Olofín Oraciones a los Santos (Figures 9 and 10), Olofín Prayers to the Saints, and Entre Páginas y Memorias (Figure 11), “Between Pages and Memories” The first was a series of hand-pulled color lithographs  containing images and prayers, i.e. Oración a la Mano Poderosa, “Prayer to The  Powerful Hand,” Oración a las Doce Mil Vírgenes, “Prayer to the Twelve Thousand  Virgins,” etc. The second was a series of hand-pulled color lithographs where Biblical passages were used as references to a series of images that portrayed my interpretation of that scripture as it related to my very own iconography. Some of the works from this series are: Porque Tú Me Cargastes En Tus  Entrañas, Leyes sobre la Castidad, etc.

Figure 9. Antonio Fonseca Vázquez. From the series Olofn Oraciones a Santos From the Series Olofín Prayers to the Saints. Top to Buttom: Oración A las Tres Divina Potencia, Prayer to the Holly Trinity, Oración al Sagrado Corazón, Prayer to the Sacred Heart, Oración a las 1,000 Virgenes, Prayer to the 1,000 Virgins. Color stone and positive photo lithography on paper. 8”x 18” on paper. 1999. © Antonio Fonseca Vázquez.

Figure 10. Antonio Fonseca Vázquez. From the series Olofn Oraciones a Santos From the Series Olofín Prayers to the Saints. Top to Buttom: Portfolio Cover, Credo, Creed, Colofón, Colophon. Color stone and positive photo lithography on paper. 8”x 18” on paper. 1999. © Antonio Fonseca Vázquez.

Figure 11. Antonio Fonseca Vázquez. From the series Entre Páginas Y Memorias From the Series Between Pages and Memories. Porque Tú Me Cargastes En Tus Entrañas. 1999. Color stone and positive photo lithography on paper. 8”x 18” on paper. 1999. © Antonio Fonseca Vázquez.

Figure 12. Antonio Fonseca Vázquez. From left to right: La Virgen Del Platanal, The Virgine of the Plantains, La Virgen Desconosida, The Uncknown Virgin, La Virgen Borinqueña, The Borinquña Virgen. Positive photo lithography, silkscreen soft pastels and oil paint on paper. 36”x 26.5”. 1999. © Antonio Fonseca Vázquez.

I started with Sloth's 8-foot-diameter charcoal drawing, which was shown in the Boriken Gallery in Rhinebeck, New York. I envisioned creating seven large format circle charcoal drawings, but after many sketches and studies, the only drawing that was finalized was that of Sloth. I struggled and underwent extreme frustration as I was attempting to formalize this series. Many artists have worked with this subject, and there are millions of interpretations to analyze and study. One would guess that such an overworked and researched concept would be easy to work with, but in reality  it never is; in fact, it humbles you and forces you to reconsider the relevance  of your “new” interpretation. I did not want to repeat what has been done, and I definitely didn't want the work to be an illustration or a literal representation of any sin.

I kept sketching and researching as I was working on other series. At times, it seemed as if I was heading in the right direction only to find even larger roadblocks. At this point, the only concrete concept I had for the series was that it would be done on paper with mixed media, predominantly drawing, that the format would be monumental, and that it would be set in an installation style to evoke a theatrical feel to the story. Once again, frustration made me put the work to rest, only for it to resurface again in 2002–2003. As I was working on the series for the show De La Memoria y el Icono, “Of Memories and Icons,"  I started a large-scale drawing representative of Gluttony, which was not shown in that exhibition.

Gluttony portrays a human figure suffering from what seems to be anorexia, a slumber atmosphere with an overwhelming sense of depression. A figure surrounded by an apple tree with  branches full of apples represents nature’s fertility. The patterns and the tree branches create a balanced contrast with the human figure, as the layers of bones, muscles, and human tissue coexist together in a well-balanced aesthetic beauty. People who saw the work during the process used to describe it as “an image that attracts you, that calls upon you due to its pleasant balance, craftsmanship, and aesthetic beauty, only to be assaulted by the harsh statement of its subject matter.” The drawing was shelved in 2003; I was still not satisfied with the direction the project was heading.

In 2005-2006, I was working on the series for the show Doble Sentido when I created the diptych “Adam and Eve.” With this image, I intended to address the issue of sexuality as a defining element of oneself. By switching the sexual organs, make a full statement about sexuality and its ambiguity. The question was; am I a man because of my physical sexuality, or would Eve still be the first to sin if she was the one with the male genitalia? By creating a contrasting and shocking statement, the spectator is forced to reconsider the idea that gender is not necessarily what causes the events that provoked the chain reaction of what will be considered the sin of man. This work was only shown once at Arte America but was rapidly embraced by the public and gave me the opportunity to re-introduce myself to drawing.

I realized at this point that my  primary issues with the series were due to the fact that I was not emotionally or at the necessary skill level to have taken such a challenge. The focus needed to be broader and not restricted to the seven sins. I was to create a play as if each panel was an act and tell the story of evil and sin.

III. IT ALL GOES BACK TO ADAM AND EVE

Figure 13.Antonio Fonseca Vázquez. Eve (Second Version). Drawing Charcoal, and zafron on paper. 72” x 50”. 1997. © Antonio Fonseca Vázquez.

Figure 14.Antonio Fonseca Vázquez. Adam (Second Version), Drawing Charcoal, and zafron on paper. 72” x 50”. 1997. © Antonio Fonseca Vázquez.

After the first version of Adam and Eve, I revisited the piece "Gluttony,” which triggered an unstoppable flux of images and iconography. I have designed, sketched, and laid out a series of at least sixteen images and have many more, which, in concept, has the potential to be at least a mile-long installation. Another version of Adam and Eve (Figures 13 and 14) soon followed. I decided that in order to clearly formulate a dialog about sin and evil and its mythology and folklore, I was to beg at the very core of sin. Adam and Eve are, of course, obvious elements of the storyline. It is in Genesis that we get introduced to critical icons and symbols that carry within them important elements of the story of good and evil. The tree of life is briefly mentioned in the narrative but is an essential character to the development of the story, regardless of the uncertainty of the type of fruit that was eaten.

I used the symbolism and iconography as follows: Eve, female, one with nature, the bearer of life, the similarities of her sexuality to that of the fruit, etc. I attempt to establish a statement that makes her the forbidden fruit, “the tree of life.” That is why, in my new interpretation of Eve, an apple tree finds its way out of her vagina. To follow such a statement, Adam reaches over to retrieve an apple from this tree. The desire of the flesh and the call of his sexuality made it easy for him to
commit to temptation. In my work, there is no argument of guilt about who tempted whom, but more of a dialog concerning human nature. Adam is not clear of guilt; he is the snake, the “phallic symbol,” an image of power and fertility represented in the drawing as Adams enormous penis, the snake, the trickster that calls upon Eve’s and seduces her to commit sin. From this point on, it all fell in place: the  iconography the imagery, the story, etc.

Throughout all the panels, the reoccurring image of the apple trees gives the series the uniformity and visual coherence to sustain the dialog. The linear progression of the story is steady and easily conforms to my own personal interpretations and visual iconography. Other images finalized as of today are: second act: The Snake Man and the Apple Tree; third act: Lust; fourth act: Anger; and fifth act: Envy.

IV. THE  SNAKE, TEMPTATION, EVIL, FERTILITY AND THE FALL OF  MEN
The piece entitled The Snake Men and the Apple Tree (Panel/Scene #4) is my interpretation of the Edenic creature described in the third book of Genesis. The snake can be considered one of the oldest and most renowned symbols in history; at times, it was described as a symbol of fertility, knowledge, and power (good and evil). The Edenic snake is not far from any common symbolism, as the snake tells Eve in Genesis 3:05: “For God knows that when you eat from it, your eyes will be opened, and you will be like God, knowing good and evil,” alluding to the power of knowledge.

Michelangelo. Fall of Man. Sistine Chapel, Vatican (ceiling, 130 feet 6 inches x 43 feet 5 inches)

Including the snake in the Sin series was obviously necessary since the snake has been attributed to the catalyst of all evil, "Sin.” Although many believe that the snake represents the devil, she/he does not get labeled as such until Revelation 12:9 and 20:2. Many artists have depicted the snake on the tree either literally as a snake or figuratively as a humanoid (half human, half snake). It seems that throughout time, artists have opted to illustrate the snake or humanoid with a female torso over that of a male. In some cases, when the humanoid is portrayed as a man, he will have the appearance of a demon-like figure, intimidating and repulsive, as opposed to a female torso, where the humanoid will then look inviting, seductive, and pleasant.

Antonio Fonseca Vázquez. The Snake Men and the Apple Tree. Drawing, mixed media on paper. 50” X 60”, 2008

Giving my snake a male torso is to maintain uniformity with my interpretation of sexual innuendos throughout the series. I believe, as I explained with my portraits of Adam and Eve, that the snake is a symbol, an extension of Adams sexuality (penis). I sustain my interpretation that Adam might have been the first to entice Eve to his sexuality and that by consummating sexual pleasures and eating the forbidden fruit (Eve), they became aware of each other’s humanity and vulnerability towards God. My humanoid is hidden behind the shadows of an apple tree, muscular in a confrontational posture demanding authority over humanity, virile full of sexual anger as it taunts and mocks the sin of lust.

[1] Encarta World English Dictionary (North American Edition) (P) 2009 Microsoft Corporation. All rights reserved. Developed for Microsoft by Bloomsbury Publishing Plc.
[2] Dibujos Recientes; Botello Gallery, San Juan, Puerto Rico, 1997. 
[3] Pisa y Corre, Puerto Rican slang, is used to describe 15 to 18 passenger vans that are used as public transportation. 
[4] Metropolis; Fritz Lang, 1927. 
[5] Visiones, Botello Gallery, San Juan, Puerto Rico, 2001. 
[6] Recordando, Caguas Museum of Art, Caguas, Puerto Rico, 2004.
[7] Entre La Memoria y El Icono / Between the Memories and the Icons; Botello Gallery, San Juan, Puerto Rico, 1994.
[8] Doble Sentido/Double Intender; Viota Gallery, San Juan, Puerto Rico, 2006.
Other references:
Caneday, Ardel B., Four Views on the Historical Adam (Counterpoints: Bible and Theology). Zondervan (November 26, 2013).
Jacobs, Alan. Original Sin: A Cultural History. Harper One, reprint edition (April 28, 2009).
Anderson, Gary A. Sin: A History. Yale University Press (August 31, 2010).
Wiley, Tatha. Original Sin: Origins, Developments, and Contemporary Meanings. Paulist Press (November 1, 2002). Pagels, Elaine. Adam, Eve, and the Serpent: Sex and Politics in Early Christianity. Vintage; Vintage Books ed. edition (September 19, 1989).
Pagels, Elaine. The Gnostic Gospels. Vintage; 1st Vintage Bks Ed, Sept. 1989 edition (September 19, 1989).
Toorn, Karel Van Der. Dictionary of Deities and Demons in the Bible (Ddd). Brill Academic Pub, 2nd Rev. edition (October 1998).