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Please direct inquiries to: studio@angelvillanueva.com

 


Official Portrait of the 25th United States Secretary of Labor, Hilda L. Solis,
2017
Oil on Canvas, 36 x 48 in.
Collection of the United States Department of Labor, Washington, D.C.

Among Hilda's long list of accomplishments:

-First Hispanic woman to serve in the California State Senate.
-First female recipient of the John F. Kennedy Profile in Courage Award (pictured).
-First Hispanic woman to serve in the United States Presidential Cabinet.
-Current member of the Los Angeles County Board of Supervisors for the 1st District.

It's an immense honor to have been chosen for this assignment.

 

Angel Villanueva - Amor de Pescador

Amor de Pescador (Fisherman's Love), 2017
Acrylic on Canvas, 18 x 24 in.

 

Master Study after Pietro Annigoni

The Ghost of Mr. Rydy, 2017
Master Study, after Pietro Annigoni.
Oil on Canvas, 16 x 20 in.
Painted as an exercise in my commitment to lifelong learning, this piece is an investigation of Annigoni's masterful command of
classical technique, deployed in his time in revolutionary opposition to prevailing trends.

 

Midnight in Paris

Midnight in Paris, 2016
A warm rendering of a late Summer evening in the City of Light.
Oil on Canvas, 18 x 24 in.

 

Lana Del Rey, 2014
Oil on Canvas, 18 x 24 in.
Painted as a gift to my cousin/brother/cognitive twin, Martín Luna.

ELIZABETH

Érase una doncella que se éra
La flor silvestre de la primavera
La dulce nota de un trovar canoro
La hiedra infatua de una ruta invera

Érase que se era una doncella
De dulce timbre y de mirada bella
Que acontecía contra tormenta eterna
Blandiendo hechizos de alma posmoderna
Refulge hipnótica fugaz centella

Oh, ¿qué será de tí, frágil estrella?
Que vives en un mundo de acabóses
Convertida en fenómeno social
Prácticamente nuestro Himno Nacional
En la tierra de los Monstruos y los Dioses

~A.V.






Heartbreak / Into the Light (Dyptich)
2003-2013
Oil and Acrylic on Canvas, 16 x 20 in.
Private Collection, Los Angeles.

Painted ten years apart, the lowest and highest points of the bittersweet journey we call life.

 



Poème II , 2012
Oil on Birch Panel, 18 x 30 in.
Paradero desconocido.

A desert vision under a starless sky.

 

 

Poème I , 2011
Oil on Birch Panel, 12 x 18
in.
Private Collection, Fairbanks, AK.

A desert vision under a starless sky.


The Tree of Knowledge

The Tree of Knowledge, 2011
Oil on Canvas, 24 x 36 in.

Click on image for a more detailed view.



Irreducible Complexity, 2011
Oil on Canvas, 20 x 24 in.

 

1492, 2008
Oil on Canvas, 24 x 36 in.
Private Collection, San Francisco.

Worlds collide, then and now...

1492 is a visual metaphor for the arrival of Columbus’ ships on the shores of an unknown land. The ship’s sails are based on the patterns found on
the underside of the wings on the South American butterfly Blue Morpho. My inspiration for this piece was a cross between the history of the Americas
and psychoanalysis; in Freudian theory, the butterfly symbolizes transformation and change. Here, the ships are rendered as the vectors for this change.

Carl Sagan once said that the discovery of America (and all the destruction that came with it) was inevitable, bound to happen around the time it did.
The Conquest is suggested by this painting as an event driven by natural forces.

 

The Tower, 2010
Oil on Canvas, 16 x 20 in.
Private Collection, Los Angeles.

A borrowed memory.

 

Anima Suspensa: Dream

Anima Suspensa: Dream, 2010
Oil on Birch Panel, 20 x 24 in.
Available, inquire at studio@angelvillanueva.com


"Dalí se desdibuja... Tirita su burbuja al descontar latidos..." ~Mecano

Dalís monstrous head from "El Sueño" (in Spanish meaning both "Sleep" and "The Dream") is redeployed as a dilapidated
billboard in the California High Desert. A very personal statement, this painting expresses my impression of Surrealism as a
dream in a state of disrepair.

 

Idis, 2009
Oil on Canvas, 8 x 10 in.
Private Collection, US

Idis was the name of Lot's wife, who looked back on the destruction of the city that was once her home, and was turned into a pillar of salt.

What is the price one pays for leaving a whole life behind?

 

Foot Worship, 2008
16 x 20 in.(22 x 26 in. Framed)

The dynamics of pleasure and pain have been the subject of religious art throughout history,
the suffering of the soul incarnate a central tenet of countless faiths. Sublime states can be
reached through the path of torture in the name of love.
To worship the body, bridging the gap between souls via a platform of shared suffering and
joy, is as deep and sublime and interaction as we are capable of, here summarized through
the isolation of an appropriated signifier: the tortured feet of the Pascal Lamb.

 

The Visionary, 2008
Oil on Birch Panel, 24 x 48 in.
Private Collection, US


Naturaleza Muerta, 2007
Oil on Birch Panel, 20 x 28 in.
Private Collection, Los Angeles.

 

 

An Evening at Magritte Bay, 2008
Oil on Canvas, 18 x 24 in.


 

 



Invisible Love, 2007
Oil on Canvas
Private Collection, Los Angeles.

 

 

 

Birth of Man, 2002
Oil on Canvas, 24 x 36 in.
Private Collection, US

 

 

Comfort Zone, 2007
Oil on Canvas, 16 x 20 in.
Private Collection, US

I had this dream, that he sat high on a cliff, overlooking an ocean of oil.

 

 

 

The Burning Tree, 2006
Oil on Canvas, 20" x 24"
Private Collection, US

 

 

Watermark, 2006
Oil on Birch Panel, 24 x 48 in.
Private Collection, US

 

 

 

Portrait of Christopher David Snyder, 2006
In loving memory
Oil on Canvas, 18 x 24 in.
Private Collection, US

 

 

The Blue Cat, 2002
Acrylic on Canvas, 30 x 30 in.
Private Collection, Mexico

Based on a childhood memory.
Limited edition serigraphs available: studio@angelvillanueva.com

 

 

Madonna, 2002
Oil on Canvas, 24 x 36 in.
Collection of the Artist

To date the only work I have done for myself, this painting occupies a privileged spot in my home.
In April of 1998, Madonna was asked by SPIN magazine what I thought was an incredibly cynical
question: "Have you accepted the fact that you can't create a lover as you would anything else in
your life?"

Her response was astonishing to a very young me at the time:
"Actually, it's all the same. The best creations are things that you allow to sort of be, that you accept,
that you're not afraid of, that you want to embrace. You can't force a perfect lover any more than
you can force a song, or a poem."

Or, I thought, a painting...

Thank you for your visit,

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PHOTOGRAPHY MURALS WRITINGS

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