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Influenced
by surrealism and German expressionism, Gronk's paintings reflect
Chicano traditions while wryly commenting on themes of ethnic identity,
high and pop culture, romantic love, and mortality.
A nationally renowned
performance artist and painter, Gronk had known from an early age
that he wanted to be an artist. "Drawing
was as an escape for me - from poverty, from my environment. It was
a way of creating new worlds for myself."
Several of the prints include depictions
of his signature image of "La
Tormenta," a solitary figure with her back facing the viewer. A
reoccurring theme, this metaphoric figure is ambiguous: sometimes comical,
sometimes tragic.
GRONK is widely
known for a thought provoking body of expressionistic work, which includes
painting,
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photography, video and installations. He has shown at the Los Angeles
County Museum, The Museum of Fine Arts in Houston and the National
Hispanic Cultural Center, to name a few. He has done set design
for the Los Angeles Opera. GRONK is probably best known for his
large scale, on-site mural pieces that he paints in front of an
audience. The process of painting the mural therefore becomes a
performance where the audience gets to watch the process involved
in its creation.
LIKE Madonna, born Madonna
Louise Ciccione, and Prince, formerly known as Prince Rogers Nelson,
Gronk is a Gronk, born and bred. ''My name was Glugio Gronk Nicandro,''
says the artist. 'The kids used to call me Gronky, Gronkezoid. I
went with the one that had the coolest sound.''
In The "Tormenta Cantata," the soprano stands with her
back to the audience, singing vowel sounds, "very melodic." Kronos
faces forward. At one side is Gronk and an 8-by-8-foot wooden panel.
He paints. They play. She sings. The piece lasts 25 minutes. When
the music is done, so is the painting. His brush is amplified - there's
a microphone in it that - while he paints - makes a sound Gronk describes
as "tcha tcha tcha." He's painting the woman, Tormenta, "so
that the soprano gets to witness her own creation, because she is,
in a sense, Tormenta." But he's also doing other images, which
the music somehow reflects.
His paintbrush is a conductor's baton,
sort of. "If I don't
do certain movements, there will be no music, because the musicians
are waiting for certain cues that will initiate the beginning of
another piece. It looks, I think, very easy, but it's kind of difficult
to do. "I sort of, like, have to rehearse. I have a metronome
that keeps me in time, and I'm not used to that, because I'm a painter
that paints freely and does a lot of improvisation. But the composer
is very much into rehearsal, and he slaps my hand every time I make
a mistake." The sounds of the brush are written into the score,
says Gronk, and so are his movements. "A square with a line
through it means I'm going to dunk my brush for more paint."
The following is excerpted from the Mercury News by David L. Beck
1996
"Gronk recently collaboated with the Kronos
Quartet in its third performance of a piece for string quartet, soprano
and, well, painter. The 25-minute piece, by Joseph Julian Gonzalez,
is called ''The Tormenta Cantata,'' after a painting by Gronk. Gonzalez
and Gronk decided to work together and chose to base the work on
Gronk's painting, "Tormenta '' a painting of a woman seen from behind."
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