Among the younger painters of “La Ruptura” Luis Lopez Loza, is shown as an extraordinary painter and sculptor, he joined the abstract aesthetics of the forms and concepts of that group. – Mariana Valdes –
Luis López Loza was born in Mexico City in 1939. He studied in the “Esmeralda” School of Painting and Sculpture, in the Center of Applied Arts, both in Mexico, and the Pratt Graphic Art Center in New York. In 1966 he received Honorary Mention in Casa de las Américas, in Havana, Cuba, and in 1969 in the Triennial of Woodcut in Modena, Italy. In 1973 he received the Biennial of Printmaking Award in Tokyo, Japan, and the National Printmaking Award in Mexico in 1977. In 1975 he was awarded a Guggenheim Foundation Fellowship.
López Loza is part of the Rupture generation of artists that became known in the fifties. During the years of his artistic training he traveled frequently, particularly to New York, where he developed his “personal style” during the second half of the seventies. He also traveled to Yugoslavia, invited by the University of Strumica, and to Maastricht, Netherlands, where the Van Eyck Academy invited him to teach a printmaking course. A decade ago, he established his studio in Valle de Bravo, State of Mexico.
Since 1959, López Loza has had more than forty solo shows in important galleries in Mexico City, the United States, Japan and Spain. His work is on display in important museums, such as: the Museum of Modern Art, in New York, the National Museum of Art, in Warsaw, Poland, Casa de las Américas, in Havana, Cuba, the Museum of Modern Art, in Mexico, among others.
In 2009 López Loza was appointed Full Member of the Arts Academy of Mexico. In 2010 he received the National Award of Science and Art, one of the highest awards given by the Mexican Goverment in science and culture.
He is neither figurative nor abstract. […] He leans toward the emotional. He reaches eroticism through an inordinate love towards his vocation. He maintains the purity of his craft and he is from here and anywhere. He belongs to the realm of intelligence and the impressionable. Poetically valid, he is characterized by dissimilarity, and his intimidating transparency, his abysmal clarity, transcend the foreground of the visited work and invite us on a journey; world inside, heart inside, urging us to touch and sluggish observation. His oil paintings and prints and drawings are almost a challenge, a test for our sensitivity. His sculptures in marble, metal, wood, incite us to caresses, to feel in our fingertips the contact with the material polished to smoothness and the accident of the unexpected grain, of the most beautiful glow. | BEATRIZ ESPEJO |
His extensive artistic production has revealed a common thread that runs equally through the various modalities that his creativity hosts: color. Indeed, we face an alchemist that transforms luminosity and nature into deep tone colors, emotional accents, subtle and luminous shades, infinite gradations, gentle reflections, unexpected dyes. An artist of abstract figures that convey the contradictory ranges of emotions of a brush, which go from the anguish and meditation to sensuality and exaltation. His language, at once dazzling and poetic, takes us by the hand to visit unknown and mysterious lands, in a constant dialogue between light and shadow, color and form, narration and space. So with stone, metal, wood, canvas, paper and inks, his hands create a voluptuous, emotional and unequivocal dialogue. | LOUISE NOELLE, 2009 |
The merit of the abstract painter lies in knowing how to express his inner personality; López Loza succeeds to do so eloquently, supported by the diversity and tonal richness of his colors. He realizes that for him nothing is more expressive and constructive than color, which is enough for him to create shapes and suggest space and movement; to produce emotions. And if he previously used to give his art a certain realism, now seeks to communicate his intimate exaltation, his joy of living, through his colors, some subtle, others strong, all of them lyrical and of delicate musicality. | FERNANDO GAMBOA, 1985 |
Standing in front of his paintings, something impenetrable is at once perceived, incomprehensible at first glance; a meeting of secrets and items that hide each other in an apparent foreground and that, when we continue watching them, become an exchange of volumes at the same time divided and intertwined, simultaneously shaping and undoing a world and underworlds. And if we insist on watching, we will not only see, we will begin to feel, smell and hear a kind of sound that goes up in smoke, or silence which refers to time. | ANDREA MONTIEL RIMOCH |
Both in his prints and pictorial works, his constant concern to materialize the intangible is visible. Concepts such as time, noise or eloquence are interpreted in two dimensions through form and color. His interest in the evolution and transformation of the world around him is translated into the visual language full of his own emotion, either on canvas, paper or in sculpture. | MARÍA FERNANDA MATOS MOCTEZUMA, 2009 |