Art exhibit review: This Ain’t No Ferdinand at Ross Akard Gallery

by Louiseza Sanderson of The Assignment Desk, DFW

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A live painting at the art opening will be on display for the rest of the exhibit. It's worth your time.

DALLAS — If you spent your evening anywhere but the Ross Akard Gallery on Friday, then you have committed a crime upon self. During the opening night of This Ain’t No Ferdinand, surrealist sculptor Hobbes Vincent and Cuban-American artist Rolando Diaz welcomed an intimate gathering to their group show.

Nestled in a quaint corner of the Fairmont Dallas hotel, a diverse group of Dallas area art aficionados, novice and erudite alike, attended the opening. A musical duo serenaded guests as they mingled amongst one another and admired the creations of each of the artists. Interspersed, the works of both artists intrigued guests -- and although both of these men are obviously very talented, their work couldn’t be more different.

Vincent, who was born in a small town in Central Mexico to missionaries, draws from the everyday to bring life to his sculptures. The artist himself is a quiet soul with a genuine warmth and energy that seems to invite you into his world. The same warmth and an energy that he exudes, he has so carefully yet deliberately infused into each of his pieces. “Rooted,” one of his older pieces on display, illustrates the struggle of a young woman who has become immobilized, working to free herself from both her own self-inflicted constraints and those of life. Also prominently on display was Vincent’s newest creation, the “White Stag.” The life size sculptor of a male deer is surrounded by scaffolding and miniature workers, who even in their own stillness bring life to the centerpiece. When asked about his latest creation Vincent said, “[I] built this object and gave it motion with other still objects.”

Beauty, sex, grit, and sensuousness are just a few words to describe the work Cuban-born artist Diaz creates. Inspired by memories of his native land, he combines the harsh realities such as prostitution with the natural physical beauty of his homeland. His interpretation is one filled with the beauty of the Cuban people as they struggle to emerge from the shadows of their country’s infamous history. One such example is “Havana Beat.”

During the evening’s event, Diaz drew inspiration from Vincent’s sculptures, creating two pieces before guests. As he began working, Diaz seemed to transcend his present surroundings, becoming aware of only the empty canvas which beckoned to him. As the musicians played, Diaz’s hands danced to the rhythm, inviting only the red wine, which he had poured across the canvas, and his paints to join their amazing dance. Both of the evening’s live paintings will join the rest of Diaz’s work, on display for the duration of the show.

Those who missed the opening are encouraged to visit the Akard Gallery before the show closes on November 11 to witness works and wonder of Diaz and Vincent.

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