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Jaime Flores Mendoza
Mexico

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Biography

His first catch was related to wanting to be a fighter. But as the body did not give him, he became a cartoonist. When a job in a TV program live to portray the masked wrestlers from the side ring, called appear masked and thus became the first player of the catch was not a fighter. With their transition from comic to canvas, Jaime Flores Mendoza led the peculiar universe to a series of paintings in which lives naturally and strident as emblematic of Mexican culture.

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Photo of Jaime Flores Mendoza
Jaime Flores Mendoza
Mexico

His first catch was related to wanting to be a fighter. But as the body did not give him, he became a cartoonist. When a job in a TV program live to portray the masked wrestlers from the side ring, called appear masked and thus became the first player of the catch was not a fighter. With their transition from comic to canvas, Jaime Flores Mendoza led the peculiar universe to a series of paintings in which lives naturally and strident as emblematic of Mexican culture.

The vibrant colors, high contrast and fill the black lines that serve to limit each of the figures in the works. They are Mexican prints, but a Mexico of the '50s, which paints Jaime Flores Mendoza. The correlation of film from this era are seen in tight dresses of the ladies and big hats characteristic of men. Ads and posters of mid-century paintings are recognized for its legends and decorations. Also, the excess is paid by a constant: both men and women at each table carrying rigorous mask wrestler. That is the hallmark of the artist who, perhaps because it could not be the wrestler, became a draftsman and painter. Thus decided his calling doing much of the work is a permanent tribute to the "big show excessive pain, defeat and justice", as defined by Roland Barthes.


In the black lines, which were described above, there is a clue: the cartoon. Flores Mendoza, a graduate of the School of Visual Arts in Monterrey, was a cartoonist for over ten years. In times of student co-founded the magazine phobia, a sort of university publication that exceeded the boundaries of the cloister and became a cult magazine for its opposition strategy to the conventions of a university: obscene language, craftsmanship you, etc. "It is true that there is a junction with the comic in my work," acknowledges painter.

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