"The certainty of art is not simply a told reality. Nor a fantastic idea drawn with arbitrary calligraphic colors. The Poetry of the Land, which motivates my work, tries to investigate and deepen essentially in the values of tradition, the values of real life and pictorial metaphor, but with great respect and preservation of the painting’s artistic values. It is the result of feeling and enjoying the essence of everyday multi-faceted poetry of the Homeland, with pain and absence, with tenderness and sorrow, with innocent fantasy, with mistaken beliefs perhaps ; with temporary joys, ... as a recondite truth filled with sublimity. They are the lands of the Motherland, seen after the darkness of the spirit. As contents, they breathe and revive an ontological reality, from where the reason for another truth departs: the creation made Art. The family of characters of the field is a challenge of pictorial calligraphy. It is a challenge of coloristic fantasies, a challenge to the metaphor of art. But it is also the seriousness of experience, study, training and the proposal of a complex world, based on artistic seriousness, on the recognition of the knowledge of intrinsic talent, rather than in the improvisation or deception of unclear, disturbing, commercial and pernicious currents, in today’s art."
The production of Elmar Rojas’ original graphic work is the result of the exigency to his intriguing search and experimentation of new materials and new techniques willing to obtain a new interpretation to his work, enriching the traditional means and thus conferring a new expressiveness to his pictorial work. His production of graphic work must be understood as part of his general artistic production.
Since 2014, together with his daughter Mayarí Rojas as Director of Production and Execution, Elmar Rojas' original graphic work project has begun as a result of the demand for his neverending search and experimentation of new materials and techniques in art. With the desire to achieve a new interpretation of his artwork, enriching traditional media and thus confer a new expressiveness to his pictorial work. His production of graphic work must be understood as part of his overall artistic production.
In 2016 he worked two collections made with a high technical requirement, translating every pictorial detail into a world of new visual possibilities. Each of these systems implies different ways of thinking the image. As a result Elmar Rojas creates his own palette of technological options that decipher plastic values in reliefs, textures and colors.
"De las Mágicas Tradiciones" and "De las Poesías" is the result of several different graphic processes and techniques such as screen printing, application by means of silver-based pigment brush, individualized application of gold and silver plates by hand, separate application off varnishes and glazes of color, direct application by hand of fillings of color in each of the works.
He has worked to the year 2017, four different collections made with high technical requirements, translating every pictorial detail into a world of new visual possibilities. Each of these systems has implicit different ways of thinking about the image. As a result, Elmar Rojas creates his own palette of technical options that decipher plastic values in reliefs, textures and colors.
Collection ”From the Magical Traditions” consists of three large format limited edition works.
- Lord of the Amulets, 137 x 100 cms.
- Torofuego I, 143 x 100 cms.
- Torofuego II , 150 x 100 cms.
Collection ”From the Poesías" comprises three works , 58 x 51 cms. Limited edition.
- "Poems of the Great Scarecrow"
- "Poetic Dreams"
- "Memories of Chinautla"
What is an original graphic artwork?
Since 1960 at the III INTERNATIONAL CONGRESS OF ARTISTS held in Vienna, the principles relating to the original graphic work were established:
1) Original graphic works are those in which the artist has made the original plate, has carved the wooden block, or has created the artwork in any other material. Works that do not meet this essential requirement in which the artist participates directly should be considered reproductions.
2) To be recognized as original, each copy of the graphic artwork must bear the signature of the artist by hand, an indication of the total-number for the edition and the serial number of the same. For example, 28/75, exemplary item number twenty-eight of an edition of seventy-five copies. It may seem curious to emphasize "by hand"; is it there is another way to sign something? The answer is yes. There are engravings or serigraphs whose description indicates "signed on the plate". This means that the artist signed the plate or stone and therefore the signature was stamped, along with the transferred image on each of the copies of the print run. The artist does not sign the works done, but they can be numbered. In addition, it would be necessary to determine if it is an original edition made in the artist's lifetime or is an edition subsequent to the artist's death based on an existing work. All these factors directly influence the value of the graphic work and its qualification of graphic work or reproduction.
3) It is the exclusive right of the artist to establish the definitive number of each of his graphic works in different techniques.
4) Once the edition has been made, the plates, stones or wooden blocks used must be destroyed or marked with a characteristic signal indicating that the edition has been completed.
For the Graphic Artwork, the International Association of Painters, Engravers and Sculptors of UNESCO have required the following:
The artist's proofs must be limited to ten percent of the edition and bear the corresponding indication P. A. There are also state tests. These are made by the artist to see the evolution of the plate as if it were a sketch or a study of the final work. These are all different and they have P.E. I, P.E. II, P.E. III, etc. written on them. Another type of inscription that we find in the graphic work is H.C. or Hors Commerce, which is a test out of trade. They are made by the artist with the purpose of assigning them to organisms, institutions, gifts, etc. Despite not being created for commercial purposes, many of them end up on sale in galleries or auction houses.
As we can see, the original graphic work moves within a great rigor framework as well as strict control by the artists and publishers themselves, for obvious reasons they are interested in respecting and disseminating so that art collectors value the graphic artwork they are acquiring or owning.