Category: Assemblage

  • Quesperanza

    Quesperanza

    Paul Soupiset
    Quesperanza, 2021-2022 SOLD
    Birdhouse with 24k gold leaf appliqué, hand-formed nest;
    bottle containing multicolored bird leg bands;
    accompanying 19” x 12.5” pencil drawing on paper.

     

    His recent work Quesperanza (part of a collaborative fine art auction benefiting nonprofit A Rocha USA and its mission to preserve biodiversity through conservation) focuses on the word ‘migration’ and its relevance both to A Rocha’s avian habitat research and to the 82.4 million people worldwide who were forcibly displaced in 2020 “as a result of persecution, conflict, human rights violation, or events seriously disturbing public order”1. Here, a birdhouse has been sawn in two and opened to reveal an empty birds’ nest, evoking notions of the empty tomb of Jesus and related themes of resurrection and hope. Outside the empty nest/house/tomb, a glass container of hundreds of multicolored bird bands (a nod to A Rocha’s “extensive bird banding [which helps] protect [spaces] from inappropriate destruction…” 2) serve to remind the viewer of the notion of being named/numbered/known, while a companion pencil sketch further explores related themes of displacement, freedom-of-movement, migration, immigration, and home.

    Paul Soupiset (°1969, San Antonio, United States) is a graphic designer, illustrator, and artist who works across a variety of media. His paintings, sketchbook projects, and found-object artworks frequently deploy texts and wordplay that invoke ‘prophetic imagination’ to call into question or subvert a prevailing consensus or status quo, offering new paths forward.

    1. The United Nations High Commissioner for Refugees. (2021, June 18). UNHCR Global Trends – forced displacement in 2020. UNHCR Flagship Reports. Retrieved December 19, 2021, from https://www.unhcr.org/flagship-reports/globaltrends/

    2. A Rocha USA. (2021). Birdbox Art Auction. Austin, Texas; A Rocha USA.

     

     

  • Detail: Charybdis

    Detail: Charybdis

    Charybdis, 2017-2018. 12″ x 19″ x 3.75″ assemblage and mixed media on birch panel.
    For sale. 320.  SOLD

  • Topo-Soteriology 2017

    Topo-Soteriology 2017

    1725: Topo-Soteriology (San Antonio Primer)
    Paul Soupiset, 2018
    Cut Paper and Mixed Media, 30 in. x23 in.
    Art Pace — Common Currents Exhibition




    This piece employs the style of 17th century colonial primers—simple, childlike, didactic verses—paired with a visual process that attempts to step humbly into the tradition of papel picado. I explore/appropriate both the colonialist’s catechistic style as well as the indigenous Pueblo-Huixcolotlan cut-paper artform. I explore the top-down-versus-grassroots ambivalences therein that echo the tensions among Catholic missionaries vis-à-vis Spanish officers (and between the larger institutions each represented), and among the Lipan Apaches who had inhabited parts of Texas for hundreds of years prior.

    Little is recorded about local life in 1725 Viceregal San Antonio. One inhabitant at Mission San Antonio de Valero in 1725, Father José González, argued with the captain of the Presidio of San Antonio de Bejár over the treatment of the Apaches. “…overcome by his desires of peace with the Apaches1”, González was recalled to Querétaro, but never made it; reports say he “perished on the road.2” Another inhabitant, Father Francisco Hidalgo “grieved to see the repeated slaughter which resulted from the war with the Apaches3” and sought permission to evangelize the Apaches. His request denied, he left San Antonio dejected only to die a year later, heartbroken.

    “Common Currents is a diverse showcase of San Antonio’s history as told by 300 local artists at six art-centric venues. Drawing on the connections that run through San Antonio’s vibrant creative community, each of the organizing partners began by inviting two artists. These initial artists were then asked to invite two peer artists until more than 300 were amassed. All of the participating artists are assigned one year of San Antonio’s history to reflect on in the development of their work for Common Currents. This exhibition is presented chronologically through a variety of contemporary media. More information on Common Currents is at commoncurrents.org.”

    1. Weddle, Robert S. San Juan Bautista; Gateway to Spanish Texas. University of Texas Press, 1968, 156-157.
    2. Castañeda, Carlos Eduardo. The Mission Era …: by Carlos E. Castañeda, .. Von Boeckmann-Jones, 1936, 253.
    3. Weddle, Robert S. The San Sabá Mission: Spanish Pivot in Texas. Texas A&M University Press College Station, 1999, 3.

  • Looking Back: Stations of the Cross, 2012

    Looking Back: Stations of the Cross, 2012

    In 2012, I created the second and third Stations of the Cross, for use at Covenant, a church just outside of San Antonio. This version of the Stations follows the more modern versions suggested and sanctioned by Roman Catholic popes John Paul II and Benedict XVI)

     

    Station II, 2012. 12″ x 12″ x 4″ scratchboard on panel in pine box. NFS.

    Station III, 2012. 12″ x 12″ x 4″ found objects on gessoed panel in pine box. NFS.

    Second station: Jesus is betrayed by Judas and arrested

    While Jesus was still speaking, Judas, one of the Twelve, arrived, accompanied by a crowd with swords and clubs, who had come from the chief priests, the scribes, and the elders. His betrayer had arranged a signal with them, saying, “the man I shall kiss is the one; arrest him and lead him away securely.” He came and immediately went over to him and said, “Rabbi.” And he kissed him. At this they laid hands on him and arrested him. —Mark 14: 43-46

    Third station: Jesus is condemned by the Sanhedrin

    When day came the council of elders of the people met, both chief priests and scribes, and they brought him before their Sanhedrin. They said, “If you are the Messiah, tell us,” but he replied to them, “If I tell you, you will not believe, and if I question, you will not respond. But from this time on the Son of Man will be seated at the right hand of the power of God.” They all asked, “Are you then the Son of God?” He replied to them, “You say that I am.” Then they said, “What further need have we for testimony? We have heard it from his own mouth.” —Luke 22: 66-71

  • 4 New Works, September 2017

    4 New Works, September 2017

    I put the finishing touches on a few paintings/assemblages this weekend/week:

    • Lunargrope II, 2017. 12″x12″x2″ acrylic and Uni Posca white ink-paint on birch panel. For sale. 85. Sold.
    • Ghost Ranch I, 2017. 12″x12″x2″ acrylic and Uni Posca white ink-paint on birch panel. For sale. 85. Sold.
    • Labyrinth #12 (Dark Night), 2017. 12″x12″x2″ acrylic and on gesso board . For sale. 85.  Sold.
    • Lakebox, 2017. 4″x 4″x 112” ″ acrylic and found objects on birch panel. For sale. 25.  Sold.

    Lunargrope2

    Darknight

    GhostRanch1
    LAKEBOX