By Daniel Reskin
By Hans Morgenstern
By George Martinez
By Pablo Chacon Alvarez
By Ciara LaVelle
By New Times Staff
By Rich Robinson
By Hannah Sentenac
In the first painting, Bedia depicts a horned nature spirit firing thunder and lightning from its glowing eyes while astride a stylized steed galloping across the celestial vault.
Beneath the horse is a mottled sky, a swirl in a blinding gale. From along the bottom of the curved canvas's rim and up its edges on both sides, a modern metropolis's skyline appears under attack by the spirit's stormy wrath.
In mythological iconography, the cauldron often is emblematic of the forces of the unconscious mind. Bedia's painting of a city assailed like a modern-day Sodom or Gomorrah also seems to be raising the argument of man's encroachment on nature and lack of stewardship of his surroundings as does Cordero in his work.
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Bedia's other painting places a man and the stag he is hunting on far opposite sides of a forest clearing while a flock of birds observe the unpredictable outcome from above.
The image reminds one that from the cycles of life and death, faith can always experience a rebirth.
"Since its inception, and despite all odds, this community center has managed to keep faith alive," Duval-Carrié observes.