That turning point occurred at a show of his
work in Costa Rica. A woman viewing the exhibition
challenged him to look at himself; her observation
resonated, and a new chapter began. “Little by little,
about four years ago, I started criticizing me—
inside the bubble now,” he recalls. “I had more
ideas, to raise my voice through art.” Boekhoudt’s
abstract expressionist take on visual autobiography
is subjective and ambiguous, rather than narrative,
but the reflections are there, speaking in cries,
whispers, and shouts in his bold, colorful language.
The Mary Tomás exhibition Johannes Boekhoudt: An
Artist of Consequence comprises several compilations of
Boekhoudt’s work: Presencia (Presence), Musica (Music),
Street Sentimentum, and new works on paper.“I believe
society can shut your mouth up, but the painting—no
one can shut its mouth,” he notes with a laugh.
Mexico City-born Francisco Moreno moved to
Arlington when he was 6 and became a naturalized
citizen in 2001. The painter and installation artist
earned his BFA at UTA and his MFA at the Rhode
Island School of Design, and his work draws from
the headlines, American iconography, kitsch, and
dazzle camouflage, while obliquely referencing
his autobiography and cultural identity. He’s made
extensive use of black-and-white dazzle camouflage
(also known as dazzle painting) in several works,
finding a personal resonance in the 20th-century
wartime phenomenon that was first used on ships,
later attracting the notice of artists. “It does speak
to me on a metaphoric level,” Moreno offers. “It
might be because I’m Hispanic, although I’m a pretty
whitewashed Hispanic person. But I always felt like
I was trying to assimilate myself into something,
maybe be more white, or maybe be more Hispanic.”
In November, Moreno will be one of the artists
exhibiting in a group show at Gray Matters Gallery,
the non-trad art space on N. Haskell. Thematically, the
Above: Francisco Moreno, 12 Heads Do the Talking for a Silenced Artist, 2011, ink on paper, 8 x 10 in.
Opposite, above: Francisco Moreno, Texas Burns, 2011, acrylic on wall, 10 x 9. 12 in.
Opposite, below: Francisco Moreno, Tornados Ravage South; Toll Near 200, 2011, ink on paper, 8 x 10 in.