Lugufelo: Native American Dreams

The story tells that Indians believed that dreams were visions and energies, positive or negative that guided the lives of people for good or for evil.

The mission of the dream catcher was to protect people from these energies malignant and take away the bad dreams.

lugufelo, metal sculptor, lover of the arts and stories of the past, was always fascinated by this legend, the history and the lives of our ancestors, but especially in love of the natives of the American Continent.

His fascination and appreciation for our roots starts back to his childhood, recalling with great fond of his master, Aboriginal certainly from Margarita Island, Venezuela.

Thanks to her, not only he learned how to read and write in Spanish, but also discovered of his ancestors, the fascinating legends, leaving embodied in an act of homage, in its exhibition entitled: “The First Sons and Daughters”.

After an arduous career of learning and improvement of the technique of how to shape, how to give movement to life to noble materials, such as metal; Lugufelo always wanted to see how its essence clearly strong, stiff and cold, were transported into his drawings and sketches to elevate the temperature to begin to shape, and finally to convert a figure as he had dreamed.

These dreams lead him to feel the need to pay a homage to its roots trapping, in dreams, each body part Native American, which in essence has the same metal characteristics and their struggle to defend their territory of the Spanish settlers who gave the Temple of strength and perpetuity, possessing the same lugufelo sculptures.

SOURCE: Doral Family Journal, #41, Lugufelo: Escultor de los Sueños Aborígenes, by Nancy Clara

http://lugufelo.com/…/Torso/doralfamilyjournal41.pdf

Please join us at the proclamation ceremony by the City of Doral of the Torso.

The First Sons and Daughters:

The first sons and daughters is an Art Project created by lugufelo to celebrate Native American heritage, a monument of remembrance for those cultures born on this continent.

I will like to celebrate Native American heritage, a monument of remembrance for those cultures born on this continent. The study of anatomy, the abstraction of forms and the experimentation on materials for the past three years have been my passion, all to develop a series of 6 sculptures that will become part of my project to honor Native Americans.

The first sons and daughters, is the name of this project, and it is a tribute to the different Native American cultures. This human get disarm and dismembered, its parts forge by progress and nothing in those six pieces of modern metal will give away his true identity.

The eye, hand, torso, foot, head and the soul are the complete set of the proposed monument.

The final piece, still metal and riveted forms, will be his soul, the entire 36 foot body with his form capture while dancing in the eagle stance.

lugufelo

Location: Las Brasas Restaurant 7905 NW 36 Street, Doral, FL 33166

Thursday, February 28, 2013 6:00pm

I am thrilled to have been chosen as the People’s Choice winner for the 2013-2014 Public Art Program in Douglas County, Denver, Colorado. This program, a collaboration between the Douglas County Cultural Council and the city of Denver, showcases outstanding public art installations.

My artwork was selected as the favorite among the public, which is a tremendous honor. This recognition validates the impact and connection my art has with the community.

The Douglas County Public Art Program aims to enrich the region’s cultural landscape by presenting diverse and engaging artworks. I am proud to have been a part of this initiative and grateful for the support of the Cultural Council and the people of Denver.

This award motivates me to continue creating art that resonates with the public and contributes to the vibrant cultural scene in Douglas County.

“Geometric Fragments”, by Lugufelo

Location: Datran Center

9100 S Dadeland Boulevard, Miami Florida 33156

From July 1 to July 28 – www.lugufelo.com

El Enclave Academia de Arte, located at Calle Farmacia nº 6 in Madrid, Spain, is a multidisciplinary art center established to foster creativity and artistic expression. In 2011, the academy was known for offering a variety of courses in painting, drawing, and modeling. Their mission is to provide personalized education that caters to individual needs and helps students achieve their artistic goals, whether for personal enjoyment or professional advancement.

El Enclave-lugufelo
El Enclave-lugufelo

El Enclave offers both short courses and more advanced programs. Short courses are tailored to fit different abilities and schedules, allowing students to start at any time. The academy also provides specialized and professional programs that include research projects, group meetings, tutorials, portfolio creation, and exhibitions promoted by the academy.

The academy is committed to a personalized approach to teaching, ensuring that each student receives the necessary guidance to develop their unique artistic expression. Additionally, El Enclave welcomes international students and offers bilingual instruction in Spanish and English.

For more detailed information, you can visit their official website here or contact them via email at info@elenclave.es​ (El Enclave Arte)​​ (Academias de Arte)​.

The Hope thru Film Award celebrates films that promote resilience, hope, and positivity, inspiring audiences to make a difference. NEFIAC’s mission aligns with my passion for creating impactful stories that spark meaningful conversations.

Impact and Inspiration

This award serves as a reminder of the power of films to influence audiences and the importance of sharing stories that inspire hope and positivity. I am grateful for the recognition and remain dedicated to creating films that make a difference.

Lugufelo had the honor of designing the NEFIAC trophy that year. The winner of the Hope thru Film Award at NEFIAC on September 30, 2011, was the Canadian short drama film “Hope,” directed by Pedro Pires. Inspired by Marie Brassard’s play “Jimmy, créature de rêve,” the film depicts a military general reflecting on his life as he lies dying on a battlefield. “Hope” premiered at the 2011 Toronto International Film Festival and received positive acclaim.

by Carol Damian, Professor, Department of Art & Art History, Florida International Universtiy

The works of Lugufelo constantly challenge the viewer to impose a new sense of balance between art and nature while responding to works that are deceiving in their abstract simplicity. Whether creating wall pieces that juxtapose the two-dimensional with the three-dimensional, small or large-scale site-specific sculptures, Lugufelo explores the elements of abstraction through a personal vision that utilizes the intersection of forms and shapes with geometry and light, subject to the latest technology and advanced constructive processes. In each of his artistic series, there is always a subjective thread that involves references to figuration and the natural world to animate objects beyond a strictly geometric context.

Lugufelo begins to build his sculptures with a Minimalist aesthetic that reveals a process invented to create new and interesting silhouettes. The works play with shadows and reflections which deliver a more accessible subject despite the simplicity of the shapes. Assembling anonymous man-made industrial materials like steel into precarious works that often defy gravity, underscores the skill of the artist who takes possession of space and works to modify the viewer’s reactions to its surroundings. Especially significant to Lugufelo’s monumental site-specific public sculptures, for which he is particularly renowned, this quality of uncertainty about whether it is heavy or light challenges the senses. Sometimes the works are purely abstract based on the simple construction of linear elements made bold as solid objects like beams or trusses, others are more referential to forms suggestive of the human body and its parts, and to nature itself. In the hands of the artist, rigid materials acquire a surprising suppleness.

Forms twist and turn in space as if they were made of paper, not hard pieces of steel. His fascination with the expressive power of the human form, especially its hands, has driven the artistic need to work with hard materials to transform them into malleable, flexible and pliant, yielding to his demands. Working in three-dimensions implies real spatial concerns that in the past referred to only what surrounded the object. Today, space has become intrinsically more specific and important as an element of the work itself; a positive, not negative element that defies the traditions of illusionism and the literal. Simplicity of shape, or of a work’s parts, does not necessarily equate with simplicity of experience. A work composed of basic forms does not reduce ideas, it can actually order them and the multiplicity and repetition of its parts. For this reason, what may at first appear to be minimal, even austere in its materiality, is more complex and has its own validity.

Lugufelo’s familiar, often monumental, free-standing works achieve their own definitions according to their relationship to nature and their surroundings. On a smaller scale, but no less impressive, his wall pieces depend on other effects. Exploiting high-tech resources that involve LED lights and computer-generated motion, Lugufelo’s more two-dimensional objects offer a degree of sensual pleasure through the illumination admitted from beneath or within the wall-relief sculptures. Unique in their conception and technology, the pieces attract the viewer with their fleeting, yet mesmerizing repetitive effects. At the same time, the hard-edge metallic object seems to de-materialize through optical impressions. There is a tendency today to isolate or abstract art’s constituent elements – line, plan, color and shape, surface and mass – and explore their potential for a new kind of quasi-pictorial impact. Lugufelo follows this through a deliberate exploitation of kinetics and optical effects for new visual dynamics that energize his latest works.

The intentional and calculated arrangement of materials and spatial effects, whether reality or technically based, is done by Lugufelo to engage the viewer more immediately and liberate him or her from the conventional interpretation of sculptural objects.

Carol Damian, Professor, Department of Art & Art History, Florida International Universtiy

Miami, 2015

by Milagros Bello

Lugufelo creates his monumental sculptures under a scientific paradigm of optical geometrics. His work is based on a solid geometry of circles, triangles, and squares – either segmented or expanding ad infinitum under an imaginary approach of Euclidean and Pythagorean formulations. Lugufelo rearranges, alters, and displaces these shapes to create a higher visual dimension. Right angles merge into a succession of circular lines in repetitive sequences of spherical geometry and curvilinear coordinates. They also transform into perpendicular or orthogonal vectors of tensional forces. A sum of complex mathematical matrixes creates a deductive system, defining and questioning the role of abstract art, tradition, and modernity.

Initially, Lugufelo’s multifaceted geometric approach connects the viewer to a metaphysical world. On a second look, the work acts as a model for representational reality when the artist incorporates suggestive references to the human body and its parts, or to the animal kingdom.

The artist rearranges orderly mathematical forms into anthropomorphic shapes, rendering new paths of multiple evocations. Over the profuse volumes, lines, and forms emerges a mimetic model imposed over his algebraic method. The result is a poetic, hybrid sculpture of multilayered readings and resonances. The viewer enters into a terrain of a subjective discovery through the ecstatic combination of reality and fiction.

EYE depicts the shape of an eye encircled in sinuous curvilinear outlines over a triangular Pythagorean base. The human presence can be seen when looking through the right angles confronting the spherical geometries.

In ELEPHANT, the sharp metal cuts delineate an animal form and its subtle spirit, integrating the metaphysical and physical fields harmoniously.

The gigantic sculpture TORSO is a rounded composition of curved, intertwined lines echoing an imposing and abstract human body. With its two successive, expanding squares on top, and its two flat, metal plaques as dancing imaginary legs at the bottom, LOAD STONE proposes a non-objective visual tone.

Lugufelo’s sculptures are structures of spirited manifestation we are to navigate for our own discovery.

Milagros Bello, Ph.D.

Art Historian – Curator

Sociologist of Art

Member of the International Critics Association

(AICA-PARIS)

Media: Aluminum wet paint

Location: Private Collector in Miami, FL

Size: 10FT OD (Outside Diameter)

Fabrication Year: 2014

Sunny Ring was dedicated during Art Basel 2014 as a permanent installation at the mouth of the Miami River and Biscayne Bay in downtown Miami, FL. Sunny ring is a tribute to the delicate balance of love, life and responsibility. “Sunny” is the artist’s wife, the circular form represents life and the ceremonial ring of marriage, and the exposed bolts represent the daily work that goes into holding such a delicate relationship together. As with all lugufelo art, the piece was designed to withstand corrosion caused by its proximity to the salt water, as well as potential hurricane winds.

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