Carlo magno biography painting artists
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By MND Staff | Mexico News Daily | MAY 27, 2023 | Photo courtesy of Friends of Oaxacan Folk Art
Mexico’s handcraft tradition is so much more than eye-catching wares displayed for sale on the street. Rather, it is a testament to millennia of both history and aesthetic evolution.
Mexico’s best artisans do not simply have impeccable craftsmanship, but they are artists in their own right.
Artists need a nurturing environment, and the central valleys of Oaxaca certainly fit the bill. The region is home to multiple cultures, along with outstanding handcraft and fine art traditions. It also has a large cultural tourism industry, providing a perfect marketplace for creators.
Among Oaxaca’s many notable creators, Carlomagno Pedro deserves recognition for a lifetime dedicated to breaking the barrier between handcrafts and fine art.
Pedro, born in 1965, is from the town of San Bartolo Coyotepec, made famous in the mid-20th century by Rosa Real Mateo, or Doña Rosa, as she was better known.
She put the town on the map internationally, by learning to burnish the local clay to a shiny black and creating decorative objects called barro negro.
Born in 1965, Pedro is the son of Coyotepec potters, but rather than a biological son of the doña
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Carlo Magno
Recently known for his abstractions on canvas, the versatile and often unpredictable Carlo Magno has produced a deep oeuvre of high-quality works that spans more than three decades of art production. In the trajectory of Magno’s practice, one can see the development of a complex artistic temperament that has experimented with a diverse multitude of media, styles, techniques, and forms. The artist’s rich career of more than 20 well-received solo shows held locally and abroad is a both a testament to the restlessness of his character, and proof that the notion of evolutionary re-invention is the driving force of his practice.
Magno’s career started at the tail-end of the Modernist era of Philippine art. Starting out as a Architecture undergraduate at the Mapua Institute of Technology, in 1976 Magno shifted to the Fine Arts program of the Philippine Womens University, under the auspices of its then-director Raul Isidro. Founded by Manuel Rodriguez, Sr., PWU’s College of Fine Arts was, at the time, a bastion for printmaking and abstract works. Modernism in the late 70s and early 80s was in a period of transition, where the early discourse of the likes of Victorio Edades and Jose Joya were already accepted by the art community. The completely abstracted landscapes of
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