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In the paints of EDGAR SANCHEZ darkness, personality and ego mix to color and shadow his creatures.  While the darkness seems menacing and ominous, there is a suggestion of revelation -- a bouncing red ball through a city sewer, freshly glazed walls in a subway tunnel, a lonely laugh on a desolate night street -- a moment of redemption where, in the dark the ego is dwindled down and made to laugh at its own conceit and vulnerability like a sprung jack-in-the-box.  It is here the personality emerges as fresh and strange as an incisor in any particular smile.  “This thing called ego -- it can be terrifying.  My approach is to humorize its nature while maintaining the darkness, because we are all capable of the unthinkable.

Growing up in Puerto Rico and the Bronx, his wonder was a mixture of fear and awe at the freedom expressed in the mural and graffiti art of his walled cities.  Intimidated by the harshness of his environment, most of Edgar's time was spent at the easel set up in the bedroom of his parent's brownstone apartment.  It was his own picture of freedom that he traced, staring across the Hudson River Bay -- indeed an overwhelming concept for such a young artist.  It is not surprising that one of his most relevant and accomplished pieces was inspired by Lord of the Flies.  Like Golding, he remains fascinated by people's responses to their surroundings, to others, and to themselves when given seeming freedom.

Edgar's formal art studies, which began in Tampa, Florida in 1988, eventually led him to Savannah College of Art and Design.  Under the influence and guidance of prestigious artists and professors like Patrick McKay, he won several awards, including the Outstanding Achievement in Illustration Award and the Society of Illustrators Award of Merit.

In early 1994, while attending the New York School of Visual Arts, under the watchful eye of Marshall Arisman, Edgar's artistic direction began to shift away from the literal and academic and to take on a more dynamic and contemporary feel.  Soon after his Chapter Four was honored with the First Prize of “Arts on the River” at the 15th Annual Fine Arts Exhibition.  Two of Edgar's paintings have become part of permanent collections of the Wachovia Bank of Georgia and the Savannah College of Art and Design.

Edgar is currently working on a series titled "Los Collossos" which derived from his last series "The Toxic Landscape". Both bodies of work are based on the concept of transport vessels and their implied contents interpreted as unknown or known emotions and fears.

He invites you to enter, to come in and see them - giant muscular men and small knee-skint children at play at games of jacks or Parcheesi.  And don't be put off by their incompletion.  The one-legged people sliding down chutes and ladders and giggling into the forthcoming night - they are slowly becoming us.

--by Daniel Underwood

You can see more of Edgar's work at his website.

Acrylic and Oil on Board
41" x 44" 
Acrylic and Oil on Board
41" x 44" 

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