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Art & Life with Edgar Cano

Today we’d like to introduce you to Edgar Cano.

Edgar, please kick things off for us by telling us about yourself and your journey so far.
I was born in Isla, Veracruz and grew up in Santiago Tuxtla, “an enchanted region where the greenery frolics and magic is not spoken about… where a brushstroke is transformed into destiny and a single word is enough to cast a spell”

I studied in Xalapa, Veracruz at the Universidad Veracruzana, in the faculty of fine arts, I started out in set design for campus theatre, at the same time I worked at part-time jobs unrelated to my vocation. During my time at the faculty, I began to develop my own techniques through the practice of lithography and drawing. My entry into painting came much later.

The experience of tempting reality was not the only objective of my appreciation and artistic practice, but also the analysis and approach to the experience of the real that sparked my career as a painter. I finally decided on painting a few years after graduating from university. One of the reasons for my initial reluctance was an aversion to colour, as well as the language and composition of the painting. It was in 2012 that I had my first solo exhibition, and years later I have been able to accumulate a substantial body of work permitting constant analysis and continuous learning that I consider beneficial in the formation of an aesthetic that in addition to engaging the viewer with painting, is also a coherent contribution to contemporary Mexico

Can you give our readers some background on your art?
I paint, draw, and create lithographs. During recent years I have been inclined to creating fictional settings in my canvases, in which we can appreciate how our environment can be chaotic and coarse. Aesthetically I prefer the common and widely used realist style to express my ideas and my pictorial whims. I enjoy settings in which the viewer is presented with a dilemma, an environment in which the viewer may be submerged in the panorama of oil paint.

Formally I have developed as a painter of mimicry, creating mostly narrative scenes; the anecdotes represented in my canvases are generated via dialectic crisscrosses, fictional scenes, landscapes and formal compositions; synecdoche, paradox, metonym and irony; these are some of the characteristics and subtexts of my brushstrokes as well as the direct sum of the imprint that lies behind reality and or nature. The references inherent to the works that I construct have been for example immediate surroundings, combined with experiences related to my social and urban spectrum.

Alluding not only to my physical context but also a consequence of my emotional and intellectual state.

Technically I make use of models, actors and actresses and any volunteer that may contribute to the adventure of a new canvas, I work with the aid of photographs to a certain extent to construct my settings, planned out previously in sketches, depending on the aim of the painting, that is to say in function of its destiny, for example, if it is to be a portrait, an urban or open landscape, scenes with individuals, animals or objects. I generally add elements that do not exist looking for an element that adds a twist in the reading of the work.

I paint because I strive to invoke the complete use of individual imagination. Based primarily on the testament of personal experience, impacted by the context that surrounds me, where the result corresponds more to the search for images within a dystopic discourse, in which I aim to reflect on a reality, that exists in the crisscrossing of dream worlds and the absurdity of daily life. In various cases, chaos surrounds the figures submerged in my fictional scenes (dramatized), the absurd and the unreasonable nature of the situations is opposed to the perfection of the execution or the intent of the precise description.

I investigate the clarity produced by the human gaze, however, I don´t try to be an accomplice of the of the trompe-l’oeil painter, who openly fools the viewer; I aspire to quite the opposite, in the evidence hidden by the form, where possible scenes exist, but perhaps impossible.

As an artist, how do you define success and what quality or characteristic do you feel is essential to success as an artist?
I consider success to have the option not to modify your artistic essence. I believe that the farther away you are away from the intention of someone who tries to direct your work towards a commercial discourse the closer you come to creating art. Success is in the small detail, in the production of something unique and inseparable from your vision of art.

What’s the best way for someone to check out your work and provide support?
At the moment I do not exhibit in commerical galleries, I prefer to participate in public or private, cultural centres or alternative institutions, as well as universities to show my work.

Contact Info:

  • Website:
  • Email:
  • Instagram: @cano_pintor
  • Facebook:
  • Twitter: @edgarcanolopez

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