Artist Statement

As an artist and painter I'm drawn to contemporary and modern art. The work comes from my soul and from personal experiences. My forms have memory, they remind me sometimes of things I used to examine as a child, something deep down in my memory, and now they sometimes appear as abstracted shapes in my work. This process is a form of visual amnesia on the verge of memory. My inspiration is linked to directness and methods to transform felt experiences into visual fact. The work is not premeditated; always fresh and always new.

R. Máynez.

René Máynez

The artistic works of René
Máynez always reveal the delicately
exquisite sensitivity of his spirit; throughout his ample range
of themes, always tempered by his personal and deftly attuned
synthesis of media and technique. By means of his delightful
flights of fancy, always accompanied by his suggestively
meaningful and symbolic use of color, the artist transports us to
myriads of both real and imaginary settings and characters.
Sometimes the magic of his transformative power appears to embody
massive and well known or rather recognizable emblematic symbols
of ages past, as well as modern everyday ones with which we are
quite familiar. However, his unusual capacity for transformation
and transcendence allows him, sometimes unexpectedly, to make the
obvious appear obscure, and vice versa. This is an essential
quality of his style.

Many of Mr.
Máynez's paintings are executed in somewhat
incandescent colors, which evoke ancestral mysteries and
primitive rhythms, invested in modern attire. He represents
simultaneously what I would denominate as the paradox of a
"prodigal economy," which doesn't allow itself to become
completely immersed in the completely austere asceticism of a
minimalistic form of expression, or in the confusion and excesses
which we so often find in the unbridled followers of the opposite
modality of expression.

In my opinion, mystery and awe are the most recurrent inspiring
springboards of his works. His extensive travels seem to have
played quite an important role in helping satisfy his search for
the remote and the primeval. The perfect synchronization between
the dark and almost monochromatic renditions of his works
inspired by the Greek and Egyptian relics of antiquity create a
quasi-religious atmosphere, which seems to exude from them. It
makes us ponder at what strange thoughts and visions, which
resist the capacity to be captured except by the creative soul
itself, were resting, or maybe taking flight through his soul
while he was creating them. For, no matter what our emotions upon
encountering a work of art may be, the original spark of the
mystery that gives rise to it is doomed to remain forever
somewhat elusive, and enclosed within the artist's soul. Luckily,
some artists, like for example Mr.
Máynez, have the remarkable
capacity to be able to transmit as much of the mystery as seems
possible in this dimension we dwell in.

Sometimes Mr.
Máynez's palette takes a rather surrealistic
investiture. Yet, it it is a very personal form of surrealism;
much more direct and less overdone or somber than many works
belonging to that category. As an example of this, I am
especially impressed by his work entitled "Mártir".
It is replete with some of the strange, many times bird-like creatures,
and other life forms that populate many of his works. Yet,
somehow these are not necessarily or mostly intimidating, but
rather unusual and colorful creatures. The balance of forms
throughout the canvas and the wonderfully luminous distribution
of colors within it, whose values are extremely well attuned to
one another, helping create a sort of symphony in color,
contribute to render it a very special masterpiece.

Máynez very often presents us with Greek and Egyptian themes
and symbols. "Sosteniendo la Catástrofe", "Los Antagonistas", "Urna",
and "Pompeii" are examples of this. All of these are
rather dark and mysterious, yet not exactly somber. There is
always a certain elusive and undefinable expression of hope
emanating from them; one might even claim, even from their own
basic darkness. The same is usually attenuated by the appearance
of some form or semblance of light, usually attained through the
use of white, light grays or blues, contrasting and/or breaking
forth through them.

In "Basaseachic" we encounter a wonderful contrast of dark and
light, where even though the center of the canvas is quite dark
and actually somber, it is majestically contrasted by a light
panorama on the left and a mysterious white figure on the right,
which once more point towards a spirit of hopefulness within the
whole enigmatic milieu.

Other of Mr.
Máynez's paintings show a proliferation of minute
details taken out of their larger context and reigning in the
midst of rather fantastic and colorful scenarios, where by the
way, the colors never compete, but rather collude with one
another in order to create the fantastic atmosphere that pervades
them. "Con Decoro", "Autumn in New York", and
"Civilización Burbujeante" are wonderful
examples of this.

In another painting musical symbols pervade the canvas, thus
empowering us to capture the feeling of the "Times Square
Musician", in the midst of everything else that is probably
simultaneously taking place there at the time.

I consider one of his untitled paintings a real banquet of color
and forms. The yellow rays appearing from within the darker part
of the canvas seem unequivocally intent upon pointing and leading
us towards the glowing hues of bright yellow, pink and blue that
seem to reign supremely over the total canvas, even though they
only occupy less than half of it. Actually, the very darkness
seems to magnify their explosive glow, and create an aura of
wonder and cheerfulness.

"Desintegración" represents not only an
individualistic feeling of hopelessness and despair, but also a
statement on modern life. Its many layers of symbolic meaning
haunt us, not only visually, but in a very deeply existential
manner. The contrast between the man's face, made of bricks, and
the rest of his attire is exquisitely in tune with our modern way
of going through life; partly doing what is expected of us, while
sometimes actually perceiving our very souls and Being withered
into nothingness, no matter how hard a front we may try to convey
to the rest of the world.

Overall Mr.
Máynez uses basically quite subtle analogous color
transitions throughout his work, rather than harsh complementary
ones. By this means he imparts an impression of smoothness and
even a certain visual restfulness, no matter how much action may
simultaneously be taking place within the canvas.

Quite often Mr.
Máynez also chooses for his subjects flowers and
panoramas more closely related to everyday life. These are
exquisite renditions of joy and the very exuberance of nature
itself. They seem like the equivalents of poems executed by means
of color and lines instead of words. Our hearts seem to bloom
together with his flowers! Just like with some of his mysterious
characters that surreptitiously seem to come to life out of
nowhere in many of his canvases, we are usually left with the
feeling that somehow, somewhere, we have known both flowers and
characters like these. This is perhaps why, after being in
contact with his works, even the apparently inaccessible ones
seem to resonate within us in their own haunting and ineffable

                                                  M. Redinger
                                                  New York, N.Y.


I had the good fortune to be able to visit Rene in his studio often while he was creating these paintings. Truly I cannot do them justice online because it's difficult to see the little depths created from resins and grit.


For many years Rene had been working almost exclusively on surrealistic digital photography and collage, while he searched for his studio. This led him through a time of dreamlike but intricately narrative surrealist work. 

Eventually through some perhaps mystical workings Rene became the first artist to move into one of the renovated studios in PS 109. With a workspace that allowed for some alchemy, he spent time reacquainting himself with painting, blending in coffee, sands, and other grit, as well as lace and old textures of his personal history. In his kaleidoscopic youth in 1980's New York, his earlier paintings were a place where he revisited memories made of ingrained sensation and purely intense colors. The paintings from Introspeccion, also made from undelineated memories, are felt deeper in the body. A sense of geology tempts you to touch, but not literally. Rather than feel my eyes are stunned with yellow which always makes me step back, I get quieter with these new paintings and feel their weight and search for new little impressions, the grains of rock, a riverbed, a visit to an old house while blindfolded. More aware then of my own body, it is easier to be thoughtful. 

S. Valeri

New York, N.Y.

César Alfonso ·

René Máynez' work speaks loudly and clearly, harmonizing until sensory input becomes blended and denatured, foaming up like a beautiful new protein that overwhelms perception but in a good way, creating rhythm out of chaos, color out of winter's greyness, and putting heavy feelings into soothing words that calm you like a lullaby. If the art is beautiful imagine the greatness of his person. Thanks for highlighting his work.

Bio, René Máynez


SELECTED EXHIBITIONS        (**Single Shows)

**Visual Narratives
Museo Palacio Alvarado
Parral, Chih. México.

NY Latin American Art Triennial.
New York, N.Y.

** IntinerArte
Chihuahua México.

**”Visual Narratives
Museo Centro Cultural Universitario Quinta Gameros
Chihuahua, México.

Artspace PS109
New York, N.Y.

Art is money - Money is art
East Village Art View Gallery
New York, N.Y.

Anniversary Show
Artspace PS109
New York, N.Y.

Artspace PS109
New York, N.Y.

Agave Rosa Gallery “Ecléctica”
El Paso, Tex.

Surgeon of Hope (Art show)
New York Academy of Sciences
New York, N.Y.

Artspace PS109
** "Introspección"
New York, N.Y.

Artspace PS109
"The closing"
New York, N.Y.

Artspace PS109
"The beginning"
New York, N.Y.

Queen Sofia Spanish Institute
** "El Día de Los Muertos"
(Installation for the day of the death).
New York, N.Y.

Children Art Foundation's 2011 group show
New York, N.Y.

Children Art Foundation's 2010 group show
New York, N.Y.

QbaVa Gallery
Union City, N.J.

**“Visual Paradox”
New York, N.Y.

**"Floating Population"
Synchronicity Space Fine Arts
New York, N.Y.

FAIM 2005
Pabellón de la Pipa
Madrid, Spain

Artists In Residence
Synchronicity Space Fine Arts
New York, N.Y.

** "Maynez at The IATI"
New York, N.Y.

**"Sentimientos Plasmados"
Synchronicity Space Fine Arts
New York, N.Y.

"Colectiva Latinoamericana"
Consulate General of Honduras
New York, N.Y.

** "Mitos y Realidades"
Galería La Giralda
Guadalajara, México

Panteon de Belen
Guadalajara, México

** "Reflejos"
CINTEGRAM, Casa de la Cultura
Guadalajara, México

"Summer Salon 2000"
Ward-Nasse Gallery
New York, N.Y.

"Salud Latina"
Latino Health Institute
Boston, Ma.

** "Fragmentos"
Galería El Bendito
Puerto Vallarta, Mexico

"Art Without Borders"
International Salon 98
Ward-Nasse Gallery Soho
New York, N.Y.

"Salud Latina"
Latino Health Institute
Boston, Ma.

"Art for Life"
Whitman-Walker Clinic
Washington, D.C.

"150 Artists from around the World"
International Salon
Ward-Nasse Gallery Soho
New York, N.Y.

** "Muertos de gusto" (Installation day of the death)
Galería de La Peña
Bronx, N.Y.

Manhattan Graphic Arts Center
New York, N.Y.

Visual Arts School
New York, N.Y.

Art Students League
New York, N.Y.

El Paso, Tx.