Trabajadores de la tierra, 2011, Oil on canvas, 14" x 42" (Collection of the artist).
Both in Perú and in the USA, in the 21st Century, Carlos Chávez is widely considered a great Latin American master in the art of painting. In his youth, Carlos Chávez did rough sketches on napkins and other perishable found-surfaces. He obtained formal artistic training under esteemed Peruvian artist: Angel Chávez (who stressed the old masters). In 1982, Carlos Chávez arrived in New York City; where he frequented major galleries and museums, attentively absorbing contemporary art trends; while enhancing his growing "freedom-of-expression;" thereby, forging a style that merged metaphorical imagery with Latin American Magic-Realism, Neo-Surrealism, Immanentism and Amnesis. In the New York cosmopolitan-area, Chávez viewed himself as a Latin-American immigrant, carrying within himself, his own unique culture (as well as a veritable panoply or conglomeration of numerous cultures). Throughout his art, Chávez constantly draws upon rich juxtapositions of immanent and transcultural imagery.
Chávez finds both inspiration and courage in the 21st Century's We Are You Project ("Proyecto Somos Tu"). At this vital crossroad in world art, Chávez firmly believes that the "WAY IT'S" endeavor represents a correct path for guiding Latino [(as well as all)] art into the 22nd Century.
In his metaphoric image entitled Farm Workers, Chávez symbolically and poetically reveals the abstract nature and conditions surrounding heroic migrant-workers. In the image, there is a yellow sulfuric atmosphere ornamented with greenish-hues enriched by grays, wherein distant roiling ironworks toil, stirring molten-steel. In their passionate longing to attain "The American Dream;" without fear of danger, migrants dance on the roof of a speeding De Chirico-esque locomotive; dashing across a dramatic landscape. In the composition, a frightened neighing thoroughbred horse symbolizes sorrowful regret; because it knows that its master has abandoned it. Resulting from the change of seasons; the field's verdure transforms; and hence, manufactured artifacts furrow the land, as a little red dilapidated truck (signifying "pain") drives away, conveying an enigmatic phantasmagoric load in its cargo-space. Departing unceasingly from a graveyard, adorned with white ornaments, resilient creatures head off. The land indicates its sexuality; while the artist's wife wears her magic-expression, communicating her hopeful dreams for the future. Suddenly, a scarecrow pops-up appearing as the protagonist of Chávez's Farm Workers. The scarecrow symbolizes a form of heartache and sorrow, eternally tempered by hope for spring (with its renewal, return, blossoming and full blooming).
For further information on Carlos Fortunato Chávez-y- López