Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.

Luisito Santana always lived as ‘an artist’, gifted with a great sensibility and technical capacity way above the average of those of us, who were his classmates, argument that allowed him to have the great privilege of living off art eternally.

Teacher Aranguren was an artist sheltered in teaching, which most likely allowed him to be his own patron to keep creating, and, as time passed, he ended up giving lectures of what it is to be a ‘Teacher’; a proof of this is the students’ pilgrimage all the way to the third floor of the design center only to consult him about a topic or simply to enjoy a kind and willing chat.

The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.

" Pertenezco a una generación de ruptura, que para incorporarse al mercado laboral tuvo que mutar su relación con la imagen, por ello la añoranza de evocar la complicidad plástica de los materiales me hace atesorar el estar parado frente a un lienzo...."

I can strongly remember that the first time I fell to my knees before The Birthday by Mark Chagall was on a book in my years as university student. I read it sporadically after many visits to the bookstore and, in each of them, I hid it out of its place expecting to avoid its purchase by an ill-timed buyer; the day finally came when I could afford it and I took it home.

The first time I presented a nono’s individual exposition; a colleague, artist, and good friend of mine told me that he saw in my work the influence of Amedeo Modigliani, and, while wanting to look into it, I gave myself the task of studying the work of this Italian painter.

Let’s do together an exercise that consists of researching about any topic related to painting or art that has taken your attention and consult three sources about it. Of course, we’re talking about serious sources that are true and, above all else, please us for the way they make us connect with information. What do you think? Who wants in? As you know, you’re all welcome to #Nono.

Talking about graving is understanding that it is a technique whose origin goes back to the XV century and is, at the same time, the unequivocal precedent of the print through the basic objective of printing a same image over paper repeatedly.

In the case of Mexico and Latin-America, in general, the digital revolution generated a void in the ‘traditional critic’, which used to control and represent the academy of capturing traditional spaces from where the national art scene was regulated, which was also circumscribed to the center of the country; in this sense, if you weren’t trained as a painter or exposed in the city of Mexico, you didn’t exist.

‘When painting, you must connect your emotions with plastic expression’; which I understand as an invitation to reflect in order to open new possibilities that allow us to enrich our emotions, each of our paintings’.