She Is Water
       
     
Necessary Transformations
       
     
Tomboy to Girly
       
     
It's What I do
       
     
Monica
       
     
At What Cost?
       
     
The Dream
       
     
The Allies
       
     
Arts Council Last Supper
       
     
Olmeca
       
     
Untitled
       
     
Untitled
       
     
Untitled
       
     
Ancient Narrative
       
     
She Is Water
       
     
She Is Water

Acyrlic on canvas, 48”x48”, 3-21-2022

Lorraine García-Nakata

This painting focuses on concept of her ability to "be" water when moving through life...especially during challenges. I'm having to learn this in a deeper way at this chapter of my life. –– Lorraine García-Nakata 2022

Necessary Transformations
       
     
Necessary Transformations

Oil on canvas, 48”x48”, 1-30-2022, self portrait

Lorraine García-Nakata

The covid experience has insisted on “seeing,” feeling, witnessing imbalances and injustices across all areas of human endeavor. This experiences have forced “necessary” changes, and in many cases, “necessary transformations.” While this is a self portrait, it also shares a more universal message. –– Lorraine García-Nakata 2022

Tomboy to Girly
       
     
Tomboy to Girly

Oil on canvas, 48”x48”, 1-10-2022

Lorraine García-Nakata

Born in 1950, I was a Tomboy. Living in a sparsely-sourced neighborhood, that was rough, there were not many girls my age. So, I ”ran” with my best friend male boys. Climbing trees, building forts and water rafts, and playing baseball in the street. I had to shift my attire for church on Sundays. Drawing and painting started very early. This piece works to depict that period of my life. –– Lorraine García-Nakata, 2022

It's What I do
       
     
It's What I do

Acrylic on canvas, 48” x 48”, 2004

Lorraine García-Nakata

There are things you come in this life to do & this woman personifies what I do in this life: paint, create, & search for small truths. I imagine/visualize a future where thoughts manifest in clear form. The form surrounding her head, and its texture, symbolize her thought process. The child to the right represents joy & importance of listening to childhood dreams which can be brought forward, into the present. One hand on a clay tablet, the other with brush in hand, her heart nearby encased in precious metals.

Monica
       
     
Monica

Oil on canvas, 48”x48”, 1990

Lorraine García-Nakata

This painting was created about the same time I created the large diptych drawings entitled, “The Red Shoes.” It is a portrait of my daughter Monica on her fifth birthday. At this age, children become aware & test a new level of personal power. Here, Monica makes evident the power of her gaze. Ribbon in hand, demeanor of an older person, she captures you. I also focus on capturing light (three quarter natural light). Light is very important in my overall work. The books behind her, reconcile with her mind & interests.

At What Cost?
       
     
At What Cost?

Oil on tin, 7” x 10”, 1993

Lorraine García-Nakata, self portrait

In 1993, I initiated a short series of paintings on tin. They derived from my interest in the affirmation aspects of Méxican Exphotos (lay public affirmations) & Retablos (images of religious persona/events). It was a challenge to literally paint in such a small scale (I enjoy large scale creations), but I wanted to stay true to the genre. This series “testifies” about what I have witnessed, affirmed, & experienced. It also documents, testifies regarding injustice. Here a professional woman, in her office, dressed as usual, is tied & gagged. Much should be said, but she is literally not allowed to illuminate on a particular issue. The issue is “closed,” but at what cost?

The Dream
       
     
The Dream

Acrylic on tin, 81/2” x 11”, 1993, collection of Richard Sauders

Lorraine García-Nakata

In 1993, short series of paintings on tin. They derived from my interest in the affirmation aspects of Méxican Exphotos (lay public affirmations) & Retablos (images of religious persona/events). It was a challenge to paint in such a small scale (I enjoy large scale creations), but I wanted to stay true to the genre. This series “testifies” about what I have witnessed, affirmed, & experienced. It also documents, testifies regarding injustice. This image documents a dream I had, submerged in water but without struggle or any duress-among because I was among “friends.”

The Allies
       
     
The Allies

Lorraine García-Nakata,

Acrylic on tin, 81/2” x 11”, 1993, collection of Juan Pablo Gutierrez.

1993, short series of paintings on tin. They derived from my interest in the affirmation aspects of Méxican Exphotos (lay public affirmations) & Retablos (images of religious persona/events). It was a challenge to paint in such a small scale (I enjoy large scale creations), but I wanted to stay true to the genre. This series “testifies” about what I have witnessed, affirmed, & experienced. Here, a woman is integrated as part of the natural world, both physical & intangible. The essence, energy of plants, fish, animals, & other entities are her “allies.” All are luminous.

Arts Council Last Supper
       
     
Arts Council Last Supper

Oil on tin, 8” x 14”, 1993

Lorraine García-Nakata

1993, short series of paintings on tin. They derived from my interest in the affirmation aspects of Méxican Exphotos (lay public affirmations) & Retablos (images of religious persona/events). It was a challenge to paint in such a small scale (I enjoy large scale creations), but I wanted to stay true to the genre. This series “testifies” about what I have witnessed, affirmed, or experienced. Here, the last supper is playfully referenced as I depict our annual California Arts Council Peer Review process (grant recommendations). I remember the challenge (I am seated to the left). The need great, funds are too small, we worked hard to make the best decisions possible. It was thorough, very hard work.

Olmeca
       
     
Olmeca

Oil on Canvas, 5ft x 3ft, 1974, Lorraine García-Nakata (Lorraine García at this time).

During the height of the Chicano Movement, my work was informed by Ethnic Studies research. I was particularly interested in the Olmeca Civilization of México. Also, in 1974 I began to regularly portray open hands in this position (as conductors of energy). Even though the most ancient of México’s civilizations, I believed the Olmeca people were the most advanced. Here, this ancient being hovers, in her Indigenous power and wisdom while accomplishing something important and necessary.

Untitled
       
     
Untitled

Oil on canvas, 28” x 36”, 1968, Lorraine García-Nakata (Lorraine García at that time), collection of Marge Valdez

(series sample) I was in high school during the period this painting was created, utilizing both a pallet knife and brush in this piece. At this time, I was becoming familiar with the oil medium, transitioning my way in by painting a prior series in mono chromatic blue. This painting marks the point where I became comfortable with use of color. In this painting, the woman is surrounded by her own energy and power.

Untitled
       
     
Untitled

Oil on canvas, 5 ft. x 3 ft, 1974, Lorraine Garcia-Nakata (Lorraine García at this time), Collection of

Untitled
       
     
Untitled

Acrylic on canvas, 30” x 35”, 1974, Lorraine García-Nakata (Lorraine García at this time). Study of energy movement.

Ancient Narrative
       
     
Ancient Narrative

Acrylic on canvas, 15” x 45”, 1974, Lorraine García-Nakata (Lorraine García at this time).