All images of Eduardo Carrillo's work courtesy of Museo Eduardo Carrillo unless otherwise noted.
Carmen León, writes in response to Eduardo Carrillo's painting, Reaching for Coatlicue:
In some of my early work I draw my inspiration from the myths and legends of Meso-America. Eduardo's painting Reaching for Coatlicue symbolizes the duality of creator and destroyer in that Coatlicue is the earth that both gives and destroys life. Also known as “Our Lady of the Serpent Skirt”, I connect Coatlicue to my painting of Cihuacoatl, Snake Woman Goddess of Motherhood and Fertility. Encircled by a snake as in a dance, Cihuacoatl embodies the symbol of nature's rejuvenation.
En algunas de mis primeras obras, me inspire en los mitos y leyendas de Mesoamérica. La pintura de Eduardo, Reaching for Coatlicue, simboliza la dualidad de creador y destructor en que Coatlicue es la tierra que da y destruye vida. También conocido como “Our Lady of the Serpent Skirt”, conecto mi propia pintura de la CIhuacoatl, Snake Woman, una Diosa de Maternidad y Fertilidad. Rodeada por una serpiente prácticamente en baile, Cihuacoatl encarna el símbolo de la rejuvenecimiento de la naturaleza.
The broadside of the poem “Dedicatoria Chicana” was one of a series I completed with UCSC students in 1989. In the series I paired the work of writing and art faculty and designed the broadsides, then my Porter College students set type and printed an edition of sixty copies each in my studio. Francisco Alarcón approached Ed about a drawing to accompany his poem, I did not speak with Ed directly at that time. This was my first collaboration with Chicano artists and set me on the path I have followed for over 30 years.
El Broadside del poema “Dedicatoria Chicana” fue parte de una serie que completé con estudiantes de UCSC en 1989. En la serie yo empareje escrito y arte, miembros de la facultad diseñaron los broadsides, y mis estudiantes del Porter College imprimieron 60 copias cada uno en mi estudio. Francisco Alarcón fue a Ed por un dibujo para acompañar el poema, No hablé con Ed directamente esa vez. Fue mi primera colaboración con artistas Chicanos y mi directo en mi camino de más de 30 años.
In 1974 as a junior transfer from Santa Barbara City College to UCSC, I had the good fortune and privilege to have Ed Carrillo as my advisor, mentor, and friend. Ed was down to earth, unassuming, kind, funny playful, besides being a brilliant painter. Through my many years as a community artist I could always count on Ed’s sage advice concerning various issues I has having on a mural project.
As for my favorite painting of Ed’s, “Las Tropicanas,” what can I say? It was Ed: earthy, spacey, psychedelic, dreamlike, and abstruse. I first viewed “Las Tropicanas” on my first meeting at his house off Highway 9 in Ben Lomond. Ed greeted me at his front door and then led me into his studio. For the first time I viewed “Las Tropicanas,” I must confess I said to myself “As long as I live, I’m never going to be able to paint like that, what am I getting myself into, I should take my uncle’s advice and be a plumber.” Anyways, it was one of the most beautiful, mysterious, and mystical images I have ever seen in my life to this day.
Over the years I have contemplated on this masterpiece and have come to my own personal conclusion that it reflected Ed’s worldview of the playing of light playing on surfaces, figures in space and time, mythical beasts. The hunt for the perfect composition, the hidden Diagonal, triangle (pyramid), giving and sharing of our cultural heritage, the juxtaposition of ancient and modern, and in the end, how “life and death art part of the same circle.”
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Eduardo Carrillo: Comunidad de Califas Virtual Gallery