Adalberto Ortiz
I’ve been asked how my ideas and compositions in my abstract work originate. My paintings, obviously, do not spring whole from my mind. In order to generate ideas, I rely on many elements from various sources. Many of these elements, geometric shapes, lines, and textures, are derived from my deconstructed architectural and theatrical computer-modeled sets that I’ve created commercially over the years in my other life as a designer. The computer process allows me to arrange these forms, focus light on them, and apply color in order to explore different possibilities. I see images, scenes suggested by the abstract arrangements, that I bring out and develop. By exploring the model from different angles, I can create numerous compositions. Most of my abstract paintings are developed in this way. Once I have all my elements realized on the screen, I can start painting on canvas. The painting process itself adds another dimension to the work. Accidental drips, brush strokes, and layering of paint enrich the work in tactile ways.

I try to give my paintings multiple dimensions so that they reveal something new every time you look at them. They should work on different levels and communicate through both the intellect and the senses.

I paint both abstract and natural subjects. Many of my architectural paintings are of gritty, desolate industrial settings depicted in warm, bright decorative colors with an occasional dab of fluorescent hue. The contrast of subject and treatment gives the painting strength and interest. For me, these paintings are really about colors, lines, and shapes created by shadows and light. I see them as abstract paintings. They don’t represent any real place or locale. In a way, they are similar in feel and purpose to my abstract work. I can envision these representational paintings exhibited side by side with my abstract pieces