"Growth is inherent to the human being," says artist Beto Araluce. "Moral, intellectual, economic growth. But there is also the growth of well being and inner peace, often forgotten due to the fast pace of contemporary life." With this set of four paintings, he extends an invitation to review one's personal history and the history of nations. "We must make the effort for interior growth in peace and joy." Araluce works in mixed media on canvas, adding texture with sand and resins. He then applies a layer of 18k gold leaf.
"Painting is a life-long journey. Time and experience are invaluable."
"In 1980, I received a master's degree in architecture at the prestigious ITESO university and in 1992, an M.F.A. from... the New York Academy of Arts. But I started to paint long before I studied architecture. My first exposure to paint was in 1973 as an exchange student living in Islip, Long Island. It was Willem de Kooning who did it! Ever since I saw his work, I wanted to become an artist."
The Landscape of my Mind
"Although I was once an artist dedicated to paintings (surfaces unified by the oil pigments), I now avail myself of any technique (cements, resins, wax, sand, dirt), objects, materials, procedures or ideas I deem necessary to accomplish my artistic goal. Most prominent is the incorporation of sand and springs, and the use of fire and time for burning, oxidizing, and smoking. My works range from extreme visual complexity – in particular those relating to sedimentation strata, archaeology, etc. – to extreme simplicity, in particular the most recent materic ones.
"My working method is constructive and subtractive, generating spaces rather than dividing them. The result is so touchable that it appeals to the senses and draws upon one's connection to the earth through the body.
"In my recent works, I realized that the expression of art arises from feelings or sensations, and that the profundity of life provides the wisdom. That I can demonstrate my life experience, inner feelings, and culture much more clearly and completely in painting than through language. The form of my inner being, the pulsation, and the passion are far better expressed with paint, than any attempt to do so with words.
"Thus I can speak louder and clearer the things that I have seen with my heart and soul.
"My work is my life, thought, and emotion. Its content is absolute, natural, internally existent and emotional. I sincerely hope that the viewer may, through this visual sensation, turn to his inner feelings and communicate together with me one thought concept and understanding of art in common."
The Influence of Abstract Expressionism
"Another area in which abstract expressionism has had an impact on my work is to be found in the so called 'non precious attitude toward work.' This is contrary to the philosophy of figurative art learned at the academy I attended. It took me almost five years to delete all the yet-valuable knowledge infused on my painting ways. Then, humble as a Zen monk, I had to start to relearn new ways, take away the fear of limitations. Now my willingness and innovative painting methods drive me to paint on the composition until 'I can't do anything more.' This is reflected in the complex multilayer structures of my canvases.
"The serious viewer will agree that there seems to be more than that which meets the eye – an idea about art, nature, the origins of existence, waiting to be discovered as the images make themselves known to you.
"Painting is a life-long journey. Time and experience are invaluable."
Araluce was the artist in residence at the Vermont Studio Center in 2002 and received an artist-in-residence grant from the Fundación Altos de Chavón, affiliated with Parsons School of Design, in 1992. In addition to participating in numerous exhibits throughout Mexico, he had solo exhibitions in the Contraste Gallery and the Espacio Gallery (Laussanne, Switzerland, 2002), and the Boarding House Gallery (Nantucket, Massachusetts, 1993). Araluce's group exhibits include "República de Artistas" at the Wilfredo Lamb Gallery (Havana, 2005), the Europos Parkas (Lithuania, 2002), the Cesarea Gallery (Boca Ratón, Florida, 1996), The "X" (Nantucket, 1993), "1st Biennal de Pintura del Caribe y Centroamérica" Galería de Arte Moderno (Santo Domingo, Dominican Republic, 1992), Wizo Art '92 (Miami, 1992), Galería Altos de Chavón (La Romana, Dominican Republic, 1992) and Wetherholt Galleries (Washington, D.C., 1992). His work has been commissioned by public entities in Mexico as well as private collectors in New York, Milan, Florida and Guadalajara. It also figures in public and private collections in London, Germany, Austria, Nantucket, Denver, Guadalajara, Mexico City and Los Cabos.
In addition, Araluce is a well known teacher. He was a professor in the I.T.T.E.S.O. School of Architecture and has offered a number of workshops in Mexico as well as in the Dominican Republic. His own studies took him to Paris in 1982 and to the New York Academy of Figurate Art in 1991.
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WOMEN
S
M
L
XL
XXL
4
6
8
10
12
14
16
18
20
22
BUST
35 - 36
37 - 38
39 - 41
42 - 44
46 - 48
WAIST
27 - 28
29 - 30
31 - 33
34 - 36
38 - 40
HIPS
37 - 38
39 - 40
42 - 43
45 - 46
49 - 50
MEN
S
M
L
XL
XXL
CHEST
36 - 38
39 - 41
42 - 44
46 - 48
50 - 52
WAIST
30 - 32
32 - 34
35 - 37
38 - 41
43 - 45
NECK
14 - 14.5
15 - 15.5
16 - 16.5
17 - 17.5
18 - 18.5
SLEEVE
32.5
33.5
34.5
35.5
36.5
FINDING YOUR SIZE
Take your measurements with the tape measure over your under garments. If your measurements fall between sizes you may prefer the next larger size. Inseam, skirt and dress lengths vary by style and will be listed in the item description. Our sweaters are knit in standard American sizes, however actual measurements vary by style.
BUST / CHEST
Measure around the fullest part of chest under the arms and over the shoulder blades keeping the tape measure level.
WAIST
Measure around the smallest part of the waist keeping the tape measure comfortably loose. Most garments use the low waist measurement noted below.
LOW WAIST
Measure around the body approximately 1.5" below the natural waist (above). This is the area where most pants and skirts actually fit.
HIPS
Standing with your heels together, measure around the fullest part of the body approx 7"-8" below the waist.
NECK
Measure around the base of the neck keeping the tape measure comfortably loose.
SLEEVE
Bend elbow slightly and starting at the center back of the neck, measure across the shoulder, to the elbow and down to the wrist.
INSEAM
Our standard inseam length for women is 32" and 34" for men; however inseam measurements will vary slightly by style.
Belts with buckles are measured in inches that correspond to a waist size however, most people do not wear belts on the waist, they wear them closer to the hips. A buckle belt measurement is take from the end of the "pin" of the buckle to the middle hole on the belt. Generally there are 5 holes for size adjustment, with a 1" space between each, so the middle hole will the be average size of the belt.
For at tie belt (no buckle) measure the belt portion end to end and half of the tie portion. This again is the medium size of the belt.
For a soft fabric tie belt it can be called "1 size fits most" and the entire length of the belt should be measured and listed.
See buckle/tie belt size standards below.
WOMEN
S
M
L
XL
4
6
8
10
12
14
16
18
20
22
inches
26 - 30
28 - 32
31 - 35
34 - 38
38 - 42
cm
76 - 86
81.5 - 91.5
86.5 - 96.5
91.5 - 101.5
96.5 - 106.5
+/- tolerance: 0.5 inches or 1.25 cm
MEN
S
M
L
XL
XXL
inches
30 - 34
32 - 36
35 - 39
39 - 43
43 - 47
cm
81.5 - 91.5
86.5 - 96.5
91.5 - 101.5
96.5 - 106.5
109 - 119
+/- tolerance: 0.5 inches or 1.25 cm
Sash tie length
Lay sash/tie out flat away from the garment and measure from end to end.
Belt with buckle
Measure from the end of the pin of the buckle (where it touches the buckle) to the middle hole.
Belt without buckle
Measure from the belt portion end to end and half of the tie portion. This is will give you the medium size of the belt.
Download our printable ring sizing chart to find the perfect fit!
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