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Daniel Iván Lavadores
Visual Artist

Daniel Iván Lavadores

Visual Artist


Daniel Iván Lavadores Gutierrez (The LaG) is a Mexican artist whose work arises from the introspection of the passions and conflicts that fuel his existence. Without any limitation, he explores various techniques and materials, freeing the discourse from any material anchor.
The LaG had its first approaches to art at the College of Studies in Communication Sciences (CECC) in Mexico City. He took a degree in "Cinematography" specializing in Production Design. During this period, the artist crossed paths with the filmmaker and teacher Philip DeKanter, who
faithfully believed that students should not be judged harshly for their mistakes, but rather for their progress in learning. Beyond his philosophy, DeKanter gave the artist the confidence he needed to take his first steps. Likewise, during his formative stage, it was the influence of the photographer Juan Pablo Vivanco and the producer Diego Valencia, which began to transform the artist’s vision towards a multidisciplinary sensibility, thus reflecting on the importance of the message before the medium in which is transmitted. After a series of determining situations at the family level, The LaG puts aside the family business to dedicate himself completely to his work. This is how he arrives at the multidisciplinary production house “Mictlan Pictures”, in Mexico City. Inside, he began to explore different artistic disciplines in greater depth, thus finding sculpture.
Inspired by the painter Edvard Munch, he begins a series of sculptures in multiple materials (bronze, clay and plaster) that reflect the internal torments that persecuted the artist at that time.
After the sculptural study and inspired (or tormented) by pareidolia, the artist begins his most recent project "Memories for an Emperor", which metaphorically represents the process of loss that the artist lived with his deceased father. Like a cathartic act, “Memories for an Emperor” takes anatomical x-rays as its canvas. Guided by the bone structure, the artist places himself at the feet of an illustrative scribe from ancient Japan. Transporting on the bone, through manual grating, relevant events during the life of a dying Emperor. The scenes that the artist proposes are only limited by Japanese culture, which was highly present during the artist's childhood. Before each radiograph, the panorama that is illustrated is dictated by the series of curved lines, deformations, and wear of the same. Thus, proposing a complete view between intimate situations to mythological elements that respond to the general narrative of the project. Turning the human being and his structure into a series of fictitious micro-scenes that marked the life of the ancient Japanese emperor.


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