The stroke and the chaos in Luis Ricardo's work

Drawing by Luis Ricardo, photo by Mario Galeana

THE LINE AND THE STORY

“But Maru (MarĂ­a Eugenia JimĂ©nez) came up with the idea of pasting them against the wall, of pasting many drawings, and it was a great idea. Because I don’t set out to make a work of art; I rather have drawings because the notebook accompanies me everywhere.”
Perhaps the nature of Luis Ricardo’s work explains why, over a 20-year career as an illustrator, he has had only four exhibitions so far.

The first was presented at the end of 2016, at Lilliput Gallery, and was titled Lo nuevo es lo olvidado. There, he included drawings in pen, pencil, digital color, and watercolor, as well as a guitar intervened with pen ten years earlier.

The second was inaugurated in mid-2017 at the Alliance Française. Por debajo del agua, as he named it, reflected his facet in painting, video, animation, and collage. And perhaps this is the most direct antecedent to the work in NFT that he would develop years later.

The third was exhibited in mid-2019 at the Teatro de la Ciudad, and he named it Notables: comics about Puebla. There he presented his work as a cartoonist, which until then had been exhibited only on his own site and in the news portals Lado B and La Jornada de Oriente.

The fourth has been, finally, Reglas para una lluvia de ideas, the compilation of his most personal work.


THE LINE AND THE EYES

“I’ve never liked the medium or the artistic community, I’ve never been interested in selling in the two or three galleries that exist and, until this event, I wasn’t interested in exhibiting either. In the digital world I feel more comfortable, it’s much more impersonal and, to a certain extent, anonymous,” he says.

The Wallpaper