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Lucia Enriquez


My is influenced by immigration, cultural studies, family history, buddhism, shamanism and the transformative effect of being in nature. Finding my own agency as an individual artist while acknowledging the effect of the past and my place in social history drives my curiosity. I do art as a way of looking for meaning in a tenuous, rapidly changing world.

I was trained as a printmaker, then did paintings and drawings using traditional materials for years. I now work with a digital painting application that emulates physical painting media, and another program that uses particle interaction to create wave forms. Yet my art-making is still informed by the process-intensive approach of printmaking, and the digital paint application I use is one specifically able to depict accidental passages of time that would have been visible from traditional materials — the paint drip, depth from the layering effect of transparent colors, traces left over from partial erasure, cracks from the breakdown of physical materials. These qualities enable me to do work that evokes passages, journeys, and the mysteries of myth, nature and dream.

I have been compelled in the last few years to delve into pre-colonial Philippine culture, beliefs, stories and world view. In my work you might see glyphs from a writing system indigenous to the Philippines that was banished during the 300-year Spanish occupation, but has been recovered in recent decades. The glyphs act as characters in themselves, or elements that take on roles in the landscape. My compositions also derive particular energy from the desires and emotions of creatures and characters from indigenous Philippine fables and myths.

My work has been exhibited in Washington state in the United States including at the Center on Contemporary Art in Seattle, Wing Luke Asian Museum, Bellevue Art Museum and Whatcom Museum of History and Art, and in galleries in other United States cities. I have written about art for Reflex Magazine, International Examiner, Seattle Times and other publications, and essays for exhibits at the Henry Art Gallery and the former Francine Seders Gallery in Seattle. 

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