Lucia Maya’s artwork is not shocking in its subject matter, nor does it contain the distasteful imagery that characterize the work of so many contemporary artists.
Yet in Maya’s explanation that covers a wall at the entrance to her show at Guadalajara’s Ex Convento del Carmen, the painter practically apologizes to that part of her public that was saddened, she writes, at the idea that “I have abandoned painting, drawing, and the themes proper to my style.”
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